Art History in the Wake of the Global Turn
Art History, Postcolonialism, and the Global Turn
• Rhode Island School of Pattern (RISD), Dark-brown University
Poster blueprint: Golrokh Fazl. Photo used in poster: Fiona Tien,Tangled(modified with permission of the creative person), 2016.
September 25–October 23, 2020
pococonf.risd.edu
Equally attention turns increasingly toward the "global" in art history, has postcolonialism fallen into obsolescence? Although touted as liberating, does the new "global" dispensation mark a rupture with history? What shall become of the generative disquisitional theory that emerged in the 1980s and '90s, which partly grew out of reflections on anticolonial movements and post-independence nation-building? At best, global art history signals a germane awareness of "post-postcolonial" weather precipitated by the accelerating globalization of finance capitalism. But would proponents of global contemporary art rather applaud putatively post-national freedoms than reckon with globalization's deep disadvantages, while jettisoning the postcolonial as an allegedly outmoded product of elite theory?
This conference asks whether, or to what degree, postcolonial discourses stand up to exist recuperated and revised in 21st century art history, architectural history, visual studies, and fine art criticism. In cases where political alliances take frayed and nascent national governments foundered, radical politics have sometimes given manner to disillusionment, while transnationalism, hybridity, and self-fashioning settle in as new norms. For some in the Global South, "postcolonial" may indeed appear misleading as an overall designation. All the same, what could be the implications of moving past postcolonialism as nosotros arguably celebrate a cosmopolitan world that has nevertheless to be fully realized? With neoliberalism giving rise to what art historian Anthony Gardner has called "a resurgent focus on North Atlantic relations," what would be the cost of letting the postcolonial slip away?
In other words, what does the early 21st century—so afar from the heyday of anticolonialism associated with Third World independence and liberation movements—hold for the practices and ambitions of artists, scholars, and critics? How accept contemporary artists accommodated and/or resisted the demands of the global fine art world? What have the recent shifts in discourse meant—or what could they hateful—for scholarly and curatorial (re)readings of chronologically staggered periods of civilization disharmonism and decolonization, including the possibilities, and failures of each moment? How might an ongoing or renewed "postcolonial" artistic output exceed the confines of galleries, biennials, fine art fairs, and museums? Practice new interests in the "global" inevitably come at the expense of the postcolonial? Are the phenomena in question truly taking place on a global calibration? Have scholars and artists from the Global South explored different terms and frameworks to construction their pursuits? To what extent are political limitations determined by working relationships with art institutions and their item forms of patronage?
Registration required and limited to 300 per session.
Detailed schedule, speaker bios, paper abstracts, and registration for panels and pic-screening: pococonf.risd.edu.
Schedule:
Panel ane
September 25, 11am EST
Tammer El-Sheikh (York Academy)
Sonal Khullar (Academy of Pennsylvania)
Film screening
October 2–nine: Register online.
Un-documented: Unlearning Imperial Plunder
Written and directed by Ariella Aïsha Azoulay
Panel two
October 9, 11am EST
Diana Martinez (Tufts University)
Jennifer Bajorek (Hampshire College)
Anthony Gardner (Oxford University)
Motion-picture show conversastion
Oct 10, 11am EST
Ariella Aïsha Azoulay in conversation with Vazira Zamindar (Brown, History) and Stanley Wolukau-Wanambwa (RISD, Photography)
Panel three
October 23, 11am EST
Ijlal Muzaffar (RISD)
Alexander Alberro (Barnard College / Columbia University)
Organizers: Foad Torshizi (RISD), Joshua I. Cohen (CCNY), and Vazira Zamindar (Brown).
Sponsors: RISD Partition of Liberal Arts; RISD MA Program in Global Arts and Cultures; RISD Associate Provost for Social Disinterestedness and Inclusion; RISD Global; Brown University, Centre for Gimmicky Southern asia; Brown University, Art History from the South; Brownish University, Department of History; Brown Academy, Dark-brown Arts Initiative; Brown University, Department of History of Fine art and Architecture; Brown University, Center for Latin American and Caribbean area Studies; Chocolate-brown University, Decolonial Collective on Migration of Objects and People.
Contact: pococonf [at] risd.edu
Source: https://www.artandeducation.net/announcements/344631/art-history-postcolonialism-and-the-global-turn
0 Response to "Art History in the Wake of the Global Turn"
Enregistrer un commentaire