This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners.
Art history as a discipline and its corollary institutions—the museum, the art market—are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice—racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving.
The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.
This companion is the first global, comprehensive text to explicate, theorize and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners.
SECTION I: INTRODUCTION SECTION II: BEING AND DOING
1. Writing Art
History in the Age of Black Lives Matter
2. Being an Indigenous Art Historian
in the 21st Century: How can Mori Adornment Reveal New Ways of Thinking
about Art, its Histories, and Futures
3. Reinvention at the Wheel: Shaping
New Histories in the Decolonization of Disability 4.The Power of Absence: An
Interview with Ken Gonzales-Day 5.Art in Paradise Found and Lost 6.The
Maquette -Modèles of Bodys Isek Kingelez: Envisioning Decolonial Monuments
7.
Decolonizing La Revolución: Cuban Artistic Practice in a Liminal Space
8.
Museums are Temples of Whiteness
9. Stepping out of the Shadow of Imperial
Monochrony: A Place-centric Approach to Decolonizing Japanese Art History
10.
On Failure and the Nation State: A Decolonial Reading of Alfredo Jaars A
Logo for America
11. Light as a Feather: The Anti-capitalist Radiance of
Decolonial Art History SECTION III: LEARNING AND LISTENING
12. Wheres
Decolonization? The Ohketeau Cultural Center, Indigenous Sovereignty, and
Arts Institutions
13. Overcoming Art Historys Meta-Narrative
14. Pathways to
Art History: Pedagogy, Research, and Praxis through a Decolonial Lens
15.
Pedagogies of Place: Listening and Learning in the Margins
16. The Unbearable
Lightness of Adjuncting Art History
17. Decolonial Cinematic Flows:
Histories, Movements, Confluences
18. Re-Indigenizing Ancient Mexican Glyphic
Codices
19. (Not) Performing Pasifika Indigeneity: Destabilizing the
Researcher as Decolonizing Method in Art History
20. Afterlives/Futurelives:
Imagining Mermaids and recalling Ghost Dancing
21. Decolonizing California
Mission Art and Architecture Studies 22.Radical Pedagogy: Environmental
Performances and the Politics of Hope SECTION IV: SENSING AND SEEING
23.
Spooky Art History (or, Whatever Happened to the Postcolonial?)
24. Spatial
Abstraction as a Colonizing Tool
25. Dishumanizing Art History? 26.The
Digital Voice as Postcolonial Proxy
27. Reflecting on Whiteness in Recent
Contemporary Artwork Exploring Transnational Poland
28. Racialization,
Creolization, and Minor Transnationalism: Black and Indigenous Exchange in
Spanish Colonial Visual Culture
29. The Imperial Landscape of 18th-Century
Anglo-Indian Portraiture
30. Unseeing Art History: Inca Material Culture
31.
Debility and the Ethics of Proximity: Spatial and Temporal Immediacy in the
Work of Candice Lin
32. Decolonizing Crocodiles, Repatriating
Birds:Human-Animal Relations in the Historical Indian Landscape
33. We are
so many bodies, my friends: Countervisibility as Resurgent Tactics SECTION
V: LIVING AND LOVING
34. she carried with hera large bundle of wearing
apparel belonging to herself: Slave Dress as Resistance in Portraiture and
Fugitive Slave Advertisements 3
5. Rina Banerjees Decolonial Ecologies
36.The Teaching is in the Making: A Relational and Embodied Experience of
Anishinaabe Photographs
37. Reflections on a Latinx Decolonial Praxis for
Medievalists
38. The Waters Surrounding Wallmapu, the Waters Surrounding Life
39. Dialogical Episodes for Decolonizing (Art) History
40. Inner Spaces: The
Depth Imagination
41. Maria Auxiliadora da Silva: Nossa Mãe Maria of Terreiro
Life and Faith on Black Grounds
42. Michael Richards: Performance as Ritual
and Black-Indigenous Haptic Visuality
43. Bittersweet Histories and Tarnished
Gold: Slaverys Sounds, Sights and Silences in the Legacy of Dutch Brazil
44.
A Personal Take, or Stuck in the Middle/Side and Going Nowhere: An Attempt at
Imagining a Methodology for Engaging Colonial Photographic Archives,
Histories, and Subjectivities SECTION VI: AFTERWORD
45. Towards a Combative
Decolonial Aesthetics
Tatiana Flores is Jefferson Scholars Foundation Edgar F. Shannon Professor of Art History at the University of Virginia.
Florencia San Martín is an assistant professor of Art History in the Department of Art, Architecture and Design at Lehigh University.
Charlene Villaseñor Black is chair of the César E. Chávez Department of Chicana/o and Central American Studies and professor of Art History at the University of California, Los Angeles, editor of Aztlán: A Journal of Chicano Studies, and founding editor-in-chief of Latin American and Latinx Visual Culture.
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