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Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Fusco, Coco (2007) Fantastic reconstruction: postcolonial artists and the colonial archive. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/13584/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. See also repository copyright: re-use policy: http://eprints.mdx.ac.uk/policies.html#copy Middlesex University Research Repository: an open access repository of Middlesex University research http://eprints.mdx.ac.uk Fusco, Coco, 2007. Postcolonial artists and the colonial archive. Available from Middlesex University’s Research Repository. Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this thesis/research project are retained by the author and/or other copyright owners. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Any use of the thesis/research project for private study or research must be properly acknowledged with reference to the work’s full bibliographic details. This thesis/research project may not be reproduced in any format or medium, or extensive quotations taken from it, or its content changed in any way, without first obtaining permission in writing from the copyright holder(s). If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. 1 MX 0535517 6 11111'1111'11'" 1111111111 I 111111l1li1 " 11111 FANTASTIC RECONSTRUCTION: POSTCOLONIAL ARTISTS AND THE COLONIAL ARCHIVE COCO FUSCO Submitted in partial fulfilment of the requirements of Middlesex University for the award of the degree of Doctor of Philosophy Middlesex University Library Cat Hill January 2007 Barnet Hertfordshire EN48HT 020 8411 5042 Middlesex http://library.mdx.ac.uk University t>...cJ ~...s"\.- REFERENCE ONLY :~s. THESIS CONTAINS 2 DVDS PAGE NUMBERING AS ORIGINAL TABLE OF CONTENTS APPLICATION FOR A RESEARCH DEGREE BY PUBLISHED WORKS MIDDLESEX UNIVERSITY COCO FUSCO 2007 Table of Contents ........................................................... , ........................... 2 Works Documented on Disk: Exhibition History ............ , ..................................4 Abstract ..................................................................................................5 PART 1: Context Statement ...........................................................................8 1. Introduction .........................................................................................9 2. The Historical Contexts for the Works Submitted .........................................16 3. Postcolonial Theory and Performative Methods ...........................................27 4. The Theoretical Status of Race as a Language ..............................................35 5. Racial Fantasy and Social Rituals of Viewing ..............................................43 6. The Colonial Archive and Postcolonial Critique ........................................... 52 7. Art-making and the Language of Race ......................................................63 8. Conclusion ..........................................................................................80 Bibliography ...........................................................................................84 PART 2: Published Works Submitted (N.B.: Pagination of this section appears on title pages for each essay.) A. Essays 1. "A Black Avant-Garde: Notes on Black Audio Film Collective and Sankofa," English is Broken Here: Notes on Cultural Fusion in the Americas, (New York. The New Press, 1995) ...................................................................... 94 2. "Uncanny Dissonance: The Work of Lorna Simpson," English is Broken Here, New York, The New Press, 1995) .......................................................... 107 3. "The Other History of Intercultural Performance," English is Broken Here, (New York, The New Press, 1995) .............................................................. 114 4. "My Kind of Conversation: the artwork of Daniel Martinez," The Bodies That Were Not Ours and Other Writings, (London and New York, Routledge, 2001) ..................................................................................... 143 5. "Wreaking Havoc on the Signified: the Art of David Hammons," The Bodies That Were Not Ours, (London and New York, Routledge, 2001) ..................... 156 6. "The Bodies That Were Not Ours," The Bodies That Were Not Ours, (London and New York, Routledge, 2001) .......................................................... 162 7. "Captain Shit and Other Allegories of Black Stardom: The Work of Chris Ofili." The Bodies That Were Not Ours, (London and New York, Routledge, 2001) .................................................................................... 178 8. "Latin American Perfonnance and the Reconquista of Civil Space," Corpus Delecti: Performance Art of the Americas, ed. Coco Fusco, (London and Nc\\ York, Routledge, 1999) ........................................................................ 183 .3 9. "Racial Time, Racial Marks, Racial Metaphors," On(v Skin Deep: Changing r"isions of the American Self Ed. Coco Fusco and Brian Wallis. ().i c\\ York, Harry Abrams Inc., 2003) ..................................................................... 20.+ B. Works Documented on Disk Disk 1. Only Skin Deep: Changing Visions of the American Self, 2003. Curatorial Project. (PowerPoint presentation of the exhibition at the International Centrc of Photography) Disk 2. The Couple in the Cage: A Guatinaui Odyssey. (co-produced with Paula Heredia), (DVD, 32 minutes) Disk 3. allda Ms. George Gilbert. 2004, (DVD, 31 minutes) 4 \Vorks Documented on Disk: Exhibition History 1. OnZ,' Skin Deep exhibition • International Centre of Photography, New York, 2003 • Seattle Art Museum, 2003 • San Diego Museum of Art and San Museum of Photography, 2004 2. The Couple in the Cage video This video has been screened in over 200 venues around the world since 1993 and is regularly used in university courses in the United States on anthropology, ethnic studies and perfonnance art. I am providing here an abbreviated list of some of the more important public screenings. • New York Film FestivaL 1993 • Highways, Los Angeles, 1993 • Women in the Director's Chair Festival, 1994 • Atlanta Film and Video Festival 1994 (award for Best Perfonnance Documentary) • KCET (Los Angeles Public Television) and WGBH (Boston Public Television), 1994 • University Art Museum, Berkeley, 1996 • Guggenheim Museum, New York, Room with a Vicw Exhibition, 1997 • Museum of Contemporary Art, Barcelona, 1999 • Kwangju Biennial, Korea, 2000 • Musee des Beaux-Arts, Nantes, 2005 • W139, Amsterdam, 2005 3. a/kJa Mrs. George Gilbert video • The Project Gallery, New York, solo exhibition, 2004 • Shanghai Biennial, China, 2004 • Margaret Mead Film and Video Festival and National Tour, 2004-2005 • Women in the Director's Chair Festival, Chicago, 2005 • Documentary Fortnight, Museum of Modern Art, New York, 2005 • The Whole World is Rotten: Free Radical and the Gold Coast Slave Castles of Paa Joe, Group Exhibition, Jack Shainman Gallery, 2005 • Black Panthers Rank and File, Group Exhibition, Yerba Buena Art Center, San Francisco, 2006 ABSTRACT 6 • ABSTRACT The context paper addresses works submitted that are informed by postcolonial theoretical debates about multiculturalism, racial identification, essentialism, cultural hybridity and mimicry that prevailed in the cultural milieus of New York and London in the 1980s and early 1990s. Race is addressed in all these works as a language and racialisation is treated as a social and psychic process. The practice that is addressed in
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