The Routledge Companion to Decolonizing Art History

ISBN-13: 9780367714819 / Twarda / 2023 / 560 str.

Opis

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.

Spis treści

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 Māori 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 Jaar’s A Logo for America  11. Light as a Feather: The Anti-capitalist Radiance of Decolonial Art History  SECTION III: LEARNING AND LISTENING  12. Where’s Decolonization? The Ohketeau Cultural Center, Indigenous Sovereignty, and Arts Institutions  13. Overcoming Art History’s 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 18^th-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 her…a large bundle of wearing apparel belonging to herself”: Slave Dress as Resistance in Portraiture and Fugitive Slave Advertisements  3 5. Rina Banerjee’s 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: Slavery’s 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

O autorze

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.