The art of decolonisation examines how artists challenged colonial legacies and reconfigured power through transnational networks of art and diplomacy. Adopting a global and transhistorical perspective, it explores artistic, political, and institutional relations between France and Senegal during decolonisation and the Cold War. From the emergence of a national modern art in Senegal to contested cultural policies and high-profile exhibitions—such as those featuring Picasso and Soulages in Dakar, or contemporary Senegalese art in Paris—this book traces the circulation of artworks, ideas, and influence across borders. It reveals how visual artists and filmmakers shaped a new artistic geopolitics between 1950 and 1970.
Reconsidering the accepted chronology of the ‘global turn’, The art of decolonisation shows that the roots of global art discourse run deeper than the 1990s, and were already forming during the era of independence struggles.

Чернильный камень — это не просто инструмент для растирания чернил, но и предмет искусства, ценность, предмет обмена между друзьями или даже суверенными государствами. Чернильный камень уже более тысячелетия связан с культурой вэнь (письмо, литература, ученость) в Китае, Корее и Японии, однако до сих пор практически не известен на Западе. Исследуя императорские мастерские в Запретном городе, каменоломни Дуань в провинции Гуандун, коммерческие мастерские в Сучжоу и дома коллекционеров в провинции Фуцзянь, Дороти Ко прослеживает связь чернильных камней с придворной жизнью и обществом и показывает, как сотрудничество между ремесленниками и учеными создало новый социальный порядок.

Mixed Media investigates Black and white artists' efforts toward racial integration, from the infamous 1931 Scottsboro Boys trial until Brown v. Board's 1954 desegregation of public schools. Each chapter attends to a distinctive visual ecology fostered by institutions and individuals committed to desegregation to varying degrees, including the nationwide public art initiatives of the New Deal, the imagery and cultural programs of the multiracial Popular Front, graphics produced for CIO-member labor unions, Jacob Lawrence's war paintings and other visual propaganda of the armed forces, and the struggle of New York abstract painters of African descent to navigate the criticism, museums, and markets of the mainstream art world. Together, they explore the divergent approaches to conceptualizing and implementing racial integration along the liberal-radical axis.
 

Mixed Media investigates Black and white artists' efforts toward racial integration, from the infamous 1931 Scottsboro Boys trial until Brown v. Board's 1954 desegregation of public schools. Each chapter attends to a distinctive visual ecology fostered by institutions and individuals committed to desegregation to varying degrees, including the nationwide public art initiatives of the New Deal, the imagery and cultural programs of the multiracial Popular Front, graphics produced for CIO-member labor unions, Jacob Lawrence's war paintings and other visual propaganda of the armed forces, and the struggle of New York abstract painters of African descent to navigate the criticism, museums, and markets of the mainstream art world. Together, they explore the divergent approaches to conceptualizing and implementing racial integration along the liberal-radical axis.
 

Mixed Media investigates Black and white artists' efforts toward racial integration, from the infamous 1931 Scottsboro Boys trial until Brown v. Board's 1954 desegregation of public schools. Each chapter attends to a distinctive visual ecology fostered by institutions and individuals committed to desegregation to varying degrees, including the nationwide public art initiatives of the New Deal, the imagery and cultural programs of the multiracial Popular Front, graphics produced for CIO-member labor unions, Jacob Lawrence's war paintings and other visual propaganda of the armed forces, and the struggle of New York abstract painters of African descent to navigate the criticism, museums, and markets of the mainstream art world. Together, they explore the divergent approaches to conceptualizing and implementing racial integration along the liberal-radical axis.