WEEK THIRTEEN: RACE THEORY PART 2, AMERICAN INDIAN, JEWISH, ASIAN, CHICANO AND LATINO CULTURES

• Cornel West: New Cultural Politics of difference        
• world view, but also co-opted
• you need action outside of institutions to make change
• impressionism was very outstandish and crazy during contemporary but presently it seems very conservative
• white affirmation of black genius. needed whiteness to make him a great writer, otherwise he was just 'another black writer'
• paternal almost, they all had one white guy helping them up.
• being smart is cool, working hard and being deligent, it is 'the thing to do' rather than play video games. 
• pg. 95 
• big problem with intellectual space, sterling rhetoric (versus) and reality. glowing principles and actual reality
• space of
• Age of Europe, culture of fragments
• little can be established unless verified by some institution
• no one cares about academia except for academia
• west wants to be known as a good writer, as good as the white men, but he writes differently. he can only get noteriety from white recognition
• demythification
• hhow does one aqcuire resources to survive? cultural capital. self confidence to succeed. 
• engage the capitalist machine?
• talented seduction. temp seduction. Talented Temp
• is it black artists who separate themselves from whites like rap or R&B
• option
• shuns solidarity
• critical organic analyst
• attuned to best what has to offer. grounded. intellectual freedom fighters
• call to arms. margin, difference, otherness, 
• (susan samberg says women take themselves out of business by thinking of wanting children and familes and take themselves out.)
• not specific on what to do
• Jessica Horton and Chersie Smith
• aboriginal art is a white construction
• identity no longer relevant in making of art?
• post-idenity couold refer to america as being post-race but not the case
• you have to recognize the difference, the separation of others, recognize how where you come from is different and if you come with/from more than others
• Janet Berlo
• some items are not meant to be displayed. some items are meant only for a limited display such as shamans, families, etc
• we assume the gaze and artifacts are something everyone should see
• bodies and bones of ancient peoples stuck in museum basements, where they cannot be laid to rest 
• like James Luna piece, take a picture with a real indian
• 1830-1930
• lines between the jewelers case and the specimen case are very slim to none.
• there are some african art exhibitions but there is no history about pathology, who owns the pieces, the history behind the pieces
• some of cultures are not for visual entertainment
• importance of authorship, it matters who makes things, in an anti-Barthes kind of way. 
• pg. 13 art species versus art objects
• art as species, versus african arts as artifacts
• turn art into an artifact of culture, or a species of something
• Joann Moser, Interview with
• very chronological. starts with what is happening/happened with China and then moved to now. 
• pg. 84
• not taught eastern or wester art history. not proletartian enough. art and literautre is just part of the cultural machine
• chinese is not a Romance language
• camera.
• fortune cookie
• not an actual chinese thing
• history is more like a verb
• made landscape painting to keep herself going
• not the process
• abc artists- american born chinese artists
• memory versus nostalgia
• different because broken and almost gone.
• nostalgia is a desire for something that still exists but maybe not see or encounter much
• becoming american, learning everything new and sometimes wanting to go back to China
• can never be the same as if she never left china
•     race, gender, class in american studies classes.