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Art history and the global: deconstructing the latest canonical narrative

Published online by Cambridge University Press:  21 October 2019

Béatrice Joyeux-Prunel
Béatrice Joyeux-Prunel*
Affiliation:
Faculté des lettres, Université de Genève, 2 rue de Candolle, 1211 Genève 4, Switzerland
*
Corresponding author. E-mail: [email protected]
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Abstract

This article reconsiders the breakthrough of global approaches to art history within a broader historical, sociological, and institutional context. It also puts into perspective the interdisciplinary openness of global-oriented approaches, and their impact in the discipline. Aiming at historicizing them up to the present, it questions the notion that the origins of global thinking in art history are to be found in the 1980s with the so-called postcolonial turn among art historians, which has become the canonical narrative. Postcolonial awareness emerged very late among art historians, only in the early 2000s. This contrasted, however, with a long-standing interest in non-Western artefacts and visual cultures among certain art historians, who were also interested in global comparisons and transdisciplinary approaches. These scholars borrowed from other fields such as history, anthropology, philosophy, and psychology, but their work was gradually put aside in the process of building art history as a discipline. This article will try to explain why this happened, and will also argue that the globalization of the art market played a greater role than postcolonial theory in encouraging art historians to adopt a globalized approach.

Keywords

decolonizationglobal art historyglobal turninterdisciplinary practicestransnational art historyworld art studies
Type
Articles
Information
Journal of Global History , Volume 14 , Special Issue 3: Historicizing the global: an interdisciplinary perspective , November 2019 , pp. 413 - 435
Copyright
© Cambridge University Press 2019 

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References

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100 Magiciens de la Terre, exhibition, Paris, Centre Georges Pompidou and Grande Halle de la Vilette, 1989, curated by Jean-Hubert Martin.

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102 Murphy, Maureen, ‘Des Magiciens de la Terre, à la globalisation du monde de l’art: retour sur une exposition historique’, Critique d’Art, 4, Spring 2013 Google Scholar, doi: 10.4000/critiquedart.8307 (consulted 21 July 2018); Steeds, Lucy, ed., Making art global (part 2): ‘Magiciens de la Terre’, 1989, London: Afterall Books/The Academy of Fine Art Vienna, The Center for Curatorial Studies, Bard College, and Van Abbemuseum, 2013 Google Scholar.

103 In 1990, Rasheed Araeen organized a counter-exhibition at the South Bank Centre in London, The other story: Afro-Asian artists in post-war Britain, to present contemporary artists of mixed cultural origins, based in the UK.

104 Such as Third Text, E-flux (https://www.e-flux.com/, founded in New York in 1998, with an online journal in 2008), or Hyperallergic (https://hyperallergic.com/, founded in Brooklyn in 2009).

105 See, for instance, Elkins, Is art history global?; Zijlmans and van Damme, World art studies; Belting, Hans, ed., Global studies: mapping contemporary art and culture, Ostfildern: Hatje Cantz Verlag, 2011 Google Scholar; Dossin, Joyeux-Prunel, and Kaufmann, Circulations.

106 Belting, Hans, Buddensieg, Andrea, and Weibel, Peter, eds., The global contemporary and the rise of new art worlds, Cambridge, MA: MIT Press, 2013 Google Scholar; Wai Jim, Alice Ming, ‘Dealing with chiastic perspectives: global art histories in Canada’, in Jessup, Lynda, Morton, Erin, and Robertson, Kirsty, eds., Negotiations in a vacant lot: studying the visual in Canada, Montreal: McGill–Queen’s University Press, 2014, pp. 66–90 Google Scholar; Casid, Jill H. and D’Souza, Aruna, eds., Art history in the wake of the global turn, Williamstown, MA: Sterling and Francine Clark Art Institute, 2014 Google Scholar; Joyeux-Prunel, ‘Ce que l’approche mondiale fait à l’histoire de l’art’.

107 For example, the Asia Art Archive, https://aaa.org.hk/en; ‘Documents of 20th-century Latin American and Latino art’, http://icaadocs.mfah.org/icaadocs/; the Africultures project, http://africultures.com/; the Mathaf encyclopedia of modern art and the Arab world, http://www.encyclopedia.mathaf.org.qa/; and the Artl@s project and its global exhibition catalogues database, https://artlas.huma-num.fr/map/#/ (all consulted 2 July 2019).

108 For instance, Bak (basis voor actuele Kunst), founded in Utrecht in 2000, https://www.bakonline.org; the transatlantic network Red conceptualismos del sur, founded in 2007, https://redcsur.net/en/; the Former West project, launched in 2008 in Utrecht, http://www.formerwest.org/; the Artl@s project, founded in Paris by the author in 2009, http://www.artlas.huma-num.fr/en/; and Modernidad(es) Descentralizada(s)/(MoDe(s), established in Barcelona in 2015, https://modernidadesdescentralizadas.com/ (all consulted 2 July 2019).

109 ARTMargins, http://www.artmargins.com (consulted 2 July 2019).

110 Artl@s Bulletin, http://www.artlas.ens.fr.en (consulted 2 July 2019).

111 See http://www.internationaleonline.org (consulted 2 July 2019).

112 As Terry Smith noted in ‘Writing the history of contemporary art’, in Anderson, Crossing cultures, pp. 918–21. See also Weibel, Peter and Buddensieg, Andrea, eds., Contemporary art and the museum: a global perspective, Berlin: Hatje Cantz, 2007 Google Scholar.

113 As shown by the publication in 2014 in the Art Bulletin of a survey in which all these fields were covered: Pollock, Griselda, ‘Whither art history?’, Art Bulletin, 96, 1, 2014, pp. 9–23 CrossRefGoogle Scholar; Mukherji, Parul Dave, ‘Whither art history? Whither art history in a globalizing world?’, Art Bulletin, 96, 2, 2014, pp. 151–5CrossRefGoogle Scholar; Mattos, Claudia, ‘Whither art history? Geography, art theory, and new perspectives for an inclusive art history’, Art Bulletin, 96, 3, 2014, pp. 259–64CrossRefGoogle Scholar; Mukherji, Parul Dave, ‘Whither art history? A global perspective on eighteenth-century Chinese art and visual culture’, Art Bulletin, 96, 4, 2014, pp. 379–94Google Scholar.

114 Heinich, Nathalie, Le triple jeu de l’art contemporain: sociologie des arts plastiques, Paris: Minuit, 1998 Google Scholar.

115 Cusset, François, French theory: Foucault, Derrida, Deleuze et Cie et les mutations de la vie intellectuelle aux États-Unis, Paris: La Découverte, 2003 Google Scholar; Boschetti, Anna, Ismes: du réalisme au postmodernisme, Paris: CNRS, 2014 Google Scholar.

116 See, for instance, Grosfoguel, Ramón and Cervantes-Rodríguez, Ana Margarita, The modern/colonial/capitalist world-system in the twentieth century: global processes, antisystemic movements, and the geopolitics of knowledge, Westport, CT: Greenwood Press, 2002 Google Scholar.

117 Ziljmans and van Damme, ‘Art history in a global frame’.

118 For example, Sharing Exoticism (5th Lyon Biennale, 2000); J’aime Chéri Samba (Fondation Cartier, 2004); or Africa Remix (Pompidou Centre, 2005).

119 An issue raised at the symposium ‘Médiation passé, présent et futur: récits historiques et art du XXe et XXIe siècles – dialogues avec les expériences des pays du Sud’, Kinshasa (DRC), March 2016, reviewed in Emi Koide, ‘Œuvre d’art comme récit historique (Rapport des discussions du groupe de travail)’, Artl@s Bulletin, 7, 1, 2018, pp. 85–92, https://docs.lib.purdue.edu/artlas/vol7/iss1/11/ (consulted 23 September 2018).

120 Enwezor, Okwui, ‘The postcolonial constellation: contemporary art in a state of permanent transition’, Research in African Literatures, 34, 4, 2003, p. 58 CrossRefGoogle Scholar.

121 See the essays on eastern Europe in Rampley, Art history and visual studies in Europe.

122 Piotrowski, Piotr, In the shadow of Yalta: art and the avant-garde in eastern Europe, 1945–1989, London: Reaktion Books, 2009 Google Scholar, introduction. See also Grusiecki, Tomasz, ‘Going global? An attempt to challenge the peripheral position of early modern Polish-Lithuanian painting in the historiography of art’, Polish Review, 57, 4, 2012, pp. 3–26 CrossRefGoogle Scholar.

123 For example, the Brazilian painter Tarsila Do Amaral (1886–1973), the Uruguayan abstract artist Joaquín Torres García (1874–1949), the Czech surrealist Toyen (1902–80), or the junk artist and performer Marta Minujín (b. 1943), who all passed through Paris in the early stages of their careers.

124 For instance, Summers, David, Real spaces: world art history and the rise of Western modernism, London: Phaidon Press, 2003 Google Scholar.

125 See, for instance, Bertrand, Romain, L’histoire à parts égales: récits d’une rencontre Orient–Occident (XVIe–XVIIe siècles), Paris: Seuil, 2011 CrossRefGoogle Scholar.

126 This is the position of the Artl@s project, www.artlas.huma-num.fr/en (consulted 2 July 2019).

127 Joyeux-Prunel, Béatrice, Les avant-gardes artistiques: une histoire transnationale, 3 vols., Paris: Gallimard, 2016 Google Scholar.

128 Gell, Alfred, Art and agency: an anthropological theory, Oxford: Clarendon Press, 1998 Google Scholar; Latour, Bruno, Changer de société: refaire de la sociologie, Paris: La Découverte, 2006 Google Scholar.

129 Subrahmanyam, Sanjay, ‘Par-delà l’incommensurabilité: pour une histoire connectée des empires aux temps modernes’, Revue d’Histoire Moderne et Contemporaine, 54, 4 bis, 2007, pp. 34–53 CrossRefGoogle Scholar.