12.4 The critique of Western-centrism and the decolonization of art history

Art history has long been dominated by Western perspectives, marginalizing non-Western art and artists. This bias stems from colonialism and the belief in Western cultural superiority, leading to underrepresentation and misinterpretation of diverse artistic traditions.

Decolonizing art history challenges these narratives, promoting inclusive approaches that value non-Western perspectives. It critiques institutional structures, advocates for greater diversity in museums and academia, and aims to create a more equitable global understanding of art.

Western-centrism in Art History

Roots of Western-centrism in Art History

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• Western-centrism in art history originated during the Enlightenment era and the rise of European colonialism
• Promoted the belief in the superiority of Western culture and values over non-Western cultures
• Based on the assumption that Western art represents the pinnacle of artistic achievement while non-Western art is considered primitive, exotic, or inferior

Marginalization of Non-Western Art

• Non-Western art is often underrepresented, misrepresented, or exoticized in museums, galleries, and academic institutions
• Non-Western artists are frequently excluded from the canon of art history
• Western-centrism leads to the appropriation or misinterpretation of non-Western art forms and perpetuates cultural stereotypes and biases
• The legacy of Western-centrism has resulted in the undervaluing and underrepresentation of non-Western art in the global art market
• Non-Western artists and art institutions often lack recognition and support due to the dominance of Western-centric perspectives

Decolonizing Art History

Challenging Western-centric Narratives

• Decolonizing art history involves challenging dominant Western-centric narratives and methodologies that have shaped the discipline
• Advocates for more inclusive, diverse, and equitable approaches to the study and interpretation of art
• Incorporates non-Western perspectives, histories, and art forms into the curriculum
• Develops alternative canons and narratives that challenge the hegemony of Western art
• Promotes cross-cultural dialogue and collaboration in the study and practice of art

Critiquing Institutional Structures

• Decolonizing art history critiques institutional structures and practices that perpetuate Western-centrism
• Addresses the lack of diversity in museum collections, curatorial practices, and academic programs
• Calls for greater representation and empowerment of non-Western artists and scholars
• Aims to create a more inclusive, equitable, and global understanding of art that recognizes the diversity and complexity of artistic traditions worldwide

Critical Perspectives on Western-centrism

Postcolonial Theory

• Postcolonial theory exposes cultural and political biases inherent in Western art historical discourse
• Advocates for the inclusion and recognition of non-Western art and artists
• Challenges binary oppositions between the West and the non-West, the center and the periphery, and the modern and the traditional
• Highlights the ways in which Western art has appropriated or misrepresented non-Western art forms and cultures
• Calls for a more nuanced and contextualized understanding of cultural exchange and hybridity in the production and reception of art

Feminist Theory

• Feminist theory exposes gender biases and exclusions in Western art history
• Advocates for the inclusion and recognition of women artists and feminist art practices
• Challenges the male-dominated canon of Western art history
• Argues for a more inclusive and diverse understanding of artistic excellence and creativity
• Highlights the ways in which Western art has objectified and sexualized the female body
• Calls for a more critical and empowering representation of women in art and visual culture

Critical Race Theory

• Critical race theory exposes racial biases and exclusions in Western art history
• Advocates for the inclusion and recognition of artists of color and marginalized communities
• Challenges white supremacist assumptions and ideologies that have shaped the Western canon of art history
• Argues for a more diverse and inclusive understanding of artistic excellence and creativity
• Highlights the ways in which Western art has stereotyped and exoticized non-white bodies and cultures
• Calls for a more critical and empowering representation of race and ethnicity in art and visual culture

Promoting Diversity in Art

Museum and Gallery Initiatives

• Museums and galleries implement diversity and inclusion initiatives to increase representation and visibility of non-Western and marginalized artists
• Initiatives include acquiring works by underrepresented artists, developing culturally sensitive curatorial practices, and creating dedicated spaces for non-Western art
• Critics argue these initiatives can be tokenistic, superficial, and fail to address systemic inequalities that perpetuate marginalization

Academic Initiatives

• Academic institutions develop decolonial and anti-racist curricula and pedagogies to challenge Western-centric assumptions and biases in art history education
• Initiatives include incorporating non-Western perspectives into the curriculum, developing critical methodologies, and promoting cross-cultural dialogue and collaboration
• Critics argue these initiatives have limited impact and sustainability and fail to address structural barriers that perpetuate underrepresentation of non-Western scholars and students

Art Market Initiatives

• Art fairs, biennales, and international art events implement diversity and inclusion initiatives to increase representation of non-Western and marginalized artists in the global art market
• Initiatives include selecting and promoting underrepresented artists and galleries, developing culturally sensitive curatorial practices, and creating dedicated spaces for non-Western art
• Critics argue these initiatives can be elitist, exclusionary, and fail to address systemic inequalities that perpetuate marginalization and exploitation of non-Western artists

Grassroots and Community Initiatives

• Grassroots and community-based art organizations develop decolonial and anti-racist initiatives to empower and support non-Western and marginalized artists and communities
• Initiatives include creating alternative spaces for non-Western art, developing collaborative and participatory art practices, and promoting cultural diversity, inclusion, and equity as core values
• These initiatives often face challenges such as lack of resources, recognition, and support from mainstream art institutions
• Non-Western and marginalized artists and communities continue to resist and struggle against cultural imperialism, appropriation, and erasure