Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East:

Jessica Winegar

The post-1989 transformation of the Egyptian art world reveals the particular tenacity of colonial logics and national attachments in culture industries built through anticolonial nationalism and socialism. Tensions emerged between and among Western and Egyptian curators, critics, and artists with the development of a foreign-dominated private-sector art market and as Egyptian art begins to circulate internationally. This international circulation of art objects has produced rearranged strategies of governance in the cultural realm, collusions and conflicts between the public and private sector, and, most importantly, a new articulation of cultural sovereignty.

Access to this content is restricted.

  • If you are a AAA member please login to obtain full-text access.
  • If you are not a AAA member you can find out more information and join here
  • If you are a library patron of an academic institution, and are experiencing an access issue please contact your library administrator for assistance.
  • If you would like to purchase online access to this single article please locate the article on Wiley Online Library or contact a Wiley-Blackwell customer service representative at