On the impossibility of global modernisms:
As art history begins to take seriously the imperative to decolonize, one of the most vexing areas of resistance to change is the conventional periodization of art historical epochs. Even while acknowledging that spatial divisions like West and Non-West are deeply problematic, as are geographic divi...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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2024
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| Zusammenfassung: | As art history begins to take seriously the imperative to decolonize, one of the most vexing areas of resistance to change is the conventional periodization of art historical epochs. Even while acknowledging that spatial divisions like West and Non-West are deeply problematic, as are geographic divisions per se, we continue to honor the "history" in the discipline’s nomenclature by insisting on temporality as a primary organizing category. The period commonly designated as "modernist" (roughly 1860 to 1960) is particularly difficult to divorce from Western ideals of progress as defined both by technological "advances" and by the heroization of artistic "innovation". When the modernist moment attempts to open itself up to global narratives, its structuring undercurrent is a particular vision of the art of the West. In this essay, I read the conventional narrative of modernism through a decolonial lens and revisit the reception of Impressionism in the 1910s and 1920s in Mexico to consider how an artistic idiom widely seen as retrograde at that moment became the basis for a radical rethinking around the democratization of art. My analysis exposes how, because of its championing of novelty and its inherent Eurocentrism, the category of modernism obscures and suppresses artists and narratives that fall outside of its limited purview |
| Beschreibung: | Illustrationen |
| ISSN: | 2701-1550 |
| DOI: | 10.11588/xxi.2024.1.102973 |
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| 520 | 3 | |a As art history begins to take seriously the imperative to decolonize, one of the most vexing areas of resistance to change is the conventional periodization of art historical epochs. Even while acknowledging that spatial divisions like West and Non-West are deeply problematic, as are geographic divisions per se, we continue to honor the "history" in the discipline’s nomenclature by insisting on temporality as a primary organizing category. The period commonly designated as "modernist" (roughly 1860 to 1960) is particularly difficult to divorce from Western ideals of progress as defined both by technological "advances" and by the heroization of artistic "innovation". When the modernist moment attempts to open itself up to global narratives, its structuring undercurrent is a particular vision of the art of the West. In this essay, I read the conventional narrative of modernism through a decolonial lens and revisit the reception of Impressionism in the 1910s and 1920s in Mexico to consider how an artistic idiom widely seen as retrograde at that moment became the basis for a radical rethinking around the democratization of art. My analysis exposes how, because of its championing of novelty and its inherent Eurocentrism, the category of modernism obscures and suppresses artists and narratives that fall outside of its limited purview | |
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| spelling | Flores, Tatiana Verfasser (DE-588)13705906X aut On the impossibility of global modernisms Tatiana Flores 2024 Illustrationen txt rdacontent c rdamedia cr rdacarrier As art history begins to take seriously the imperative to decolonize, one of the most vexing areas of resistance to change is the conventional periodization of art historical epochs. Even while acknowledging that spatial divisions like West and Non-West are deeply problematic, as are geographic divisions per se, we continue to honor the "history" in the discipline’s nomenclature by insisting on temporality as a primary organizing category. The period commonly designated as "modernist" (roughly 1860 to 1960) is particularly difficult to divorce from Western ideals of progress as defined both by technological "advances" and by the heroization of artistic "innovation". When the modernist moment attempts to open itself up to global narratives, its structuring undercurrent is a particular vision of the art of the West. In this essay, I read the conventional narrative of modernism through a decolonial lens and revisit the reception of Impressionism in the 1910s and 1920s in Mexico to consider how an artistic idiom widely seen as retrograde at that moment became the basis for a radical rethinking around the democratization of art. My analysis exposes how, because of its championing of novelty and its inherent Eurocentrism, the category of modernism obscures and suppresses artists and narratives that fall outside of its limited purview Geschichte 1910-1930 gnd rswk-swf Impressionismus (DE-588)4026679-5 gnd rswk-swf Moderne (DE-588)4039827-4 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Entkolonialisierung (DE-588)4070860-3 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Globalisierung (DE-588)4557997-0 gnd rswk-swf Mexiko (DE-588)4039058-5 gnd rswk-swf Impressionismus Moderne Globale Modernen Mexikanische Kunst Dekolonisierung der Kunstgeschichte Kolonialität Impressionismus (DE-588)4026679-5 s Rezeption (DE-588)4049716-1 s Mexiko (DE-588)4039058-5 g Kunst (DE-588)4114333-4 s Geschichte 1910-1930 z DE-604 Moderne (DE-588)4039827-4 s Ästhetik (DE-588)4000626-8 s Globalisierung (DE-588)4557997-0 s Entkolonialisierung (DE-588)4070860-3 s volume:5 number:1 year:2024 pages:17-47 21: inquiries into art, history, and the visual Heidelberg, 2024 Bd. 5, Nr. 1 (2024), Seite 17-47 (DE-604)BV046617927 2701-1550 (DE-600)3010740-4 https://doi.org/10.11588/xxi.2024.1.102973 Resolving-System Verlag kostenfrei Volltext https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/102973 Verlag kostenfrei Volltext |
| spellingShingle | Flores, Tatiana On the impossibility of global modernisms Impressionismus (DE-588)4026679-5 gnd Moderne (DE-588)4039827-4 gnd Ästhetik (DE-588)4000626-8 gnd Rezeption (DE-588)4049716-1 gnd Entkolonialisierung (DE-588)4070860-3 gnd Kunst (DE-588)4114333-4 gnd Globalisierung (DE-588)4557997-0 gnd |
| subject_GND | (DE-588)4026679-5 (DE-588)4039827-4 (DE-588)4000626-8 (DE-588)4049716-1 (DE-588)4070860-3 (DE-588)4114333-4 (DE-588)4557997-0 (DE-588)4039058-5 |
| title | On the impossibility of global modernisms |
| title_auth | On the impossibility of global modernisms |
| title_exact_search | On the impossibility of global modernisms |
| title_full | On the impossibility of global modernisms Tatiana Flores |
| title_fullStr | On the impossibility of global modernisms Tatiana Flores |
| title_full_unstemmed | On the impossibility of global modernisms Tatiana Flores |
| title_short | On the impossibility of global modernisms |
| title_sort | on the impossibility of global modernisms |
| topic | Impressionismus (DE-588)4026679-5 gnd Moderne (DE-588)4039827-4 gnd Ästhetik (DE-588)4000626-8 gnd Rezeption (DE-588)4049716-1 gnd Entkolonialisierung (DE-588)4070860-3 gnd Kunst (DE-588)4114333-4 gnd Globalisierung (DE-588)4557997-0 gnd |
| topic_facet | Impressionismus Moderne Ästhetik Rezeption Entkolonialisierung Kunst Globalisierung Mexiko |
| url | https://doi.org/10.11588/xxi.2024.1.102973 https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/102973 |
| work_keys_str_mv | AT florestatiana ontheimpossibilityofglobalmodernisms |