Decolonize contemporary art

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Entertainment • Fine Arts

Eps 1: Decolonize contemporary art

Close to be me

I believe that decolonizing art history has to take place in the classroom, through research, and in broader art-historical discourse.
All we can do as researchers and writers in this field is reveal - again and again, with more and more force - these power structures for what they are, but whilst I work through these issues, I'm giving up my Renaissance art habit for a while.
There might be a danger of creating decolonization-based canons without ensuring that the voices of postcolonial feminist and queer artists and theorists are included.

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Dianne Douglas

Dianne Douglas

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Homeland is a foreign place that reinterprets the Western narrative of modern art in the global context of decolonization and expulsion. This approach follows a long tradition of Western museum collections that rethink migration and historically excluded artists and geographies. Through the collection of works by artists from Africa, Asia, Latin America and the Middle East, we can create a new narrative for the modern era of contemporary art and its relationship to the world.
The ambiguities of the artist's own house are vividly overcome by the theme - the changing sensitivity of the subject and the interplay between the artist's personal experience of the world and his own.
Murrell's work expands the discussion of European Modernism by including black female models in Western painting. Due to the lack of representation in contemporary art, this theme has been largely ignored in art historical discourses. The pose is an example of what the recontextualization of museum narratives could look like in the future.
Moreover, the invisibility of black objects in the canon shows how far museums have advanced since Sheppard. It should be noted, however, that the politics of representation in museums has been the subject of discussion in recent years and has become a focus of so-called critical museology. Such calls have gained unprecedented energy, as the contemporary art world has made them responsible for this trend.
At least we can say that we have become aware that the art world as a whole has been overtaken not only by white supremacy, but also by racism and sexism.
Perhaps we will only find our role as politically engaged artists through collective learning and educational exchange. The number of institutions that are taking and implementing paths to decolonisation, and those that are proposing them, is growing exponentially.
Of course, as a community learning space, this has become an increasingly important part of our daily lives, but it has also become a very important aspect of the process. Somehow, however, we are able to engage in a subversive process in which new art practices indirectly address the creation of something new and regard it as the primary concern. Can we understand an art practice that leads continuously, performatively, immersively and to a point of departure for art? Can art be taken so far as to allude to what we see in the works of artists such as David Hockney, Robert Rauschenberg, and Andy Warhol, for example?
This activist attitude calls into question the grand narratives constructed in the Western canon. Rhodes continues Sheppard's anti-colonial work with a series of works in collaboration with artists such as David Hockney, Robert Rauschenberg, and Andy Warhol.
If museums want to engage in ethical curating, representation and decolonization must be at the center of contemporary discussion.
Western museums and art collections are to decolonise their art collections, which implies a departure from their traditional role as a repository of cultural heritage. The trigger is the phenomenon of globalisation, which exacerbates these imbalances and therefore requires a non-Eurocentric policy. Various examples are discussed, but the battle is won when museums become spaces of knowledge and power, and take on the role of influential narratives that shape our collective memory.
This article is an abridged and rewritten version, but it is conceivable that the art collections of the United States, Canada, Australia, New Zealand and other countries could be decolonized.
In addition, Stedelijk has begun to acquire works of art produced and selected within the programme and is building up a collection piece by piece to reflect more closely the collection of the piece itself. Near has exhibited works by artists such as Billie Jean King, Jean-Claude Van Gogh and Henri Cartier-Bresson, showing a strong interest in artists from the African continent.
In the lobby of the auditorium, where a group of a few dozen artists sit in a circle on the concrete floor, they are holding a debate with art historians about the artistic and political line of the DTP.
Soskolne explains that the artists should use a new online platform called WAGENCY, which would have allowed them to negotiate individually with the museum for this purpose. The W, A, G. and E. had just published a list of artists selected for the Whitney Biennial whose works they were holding back until the demands of the Whitney staff were met.
Others recall the protests, including Dana Till's painting of Emmett Till, which caused widespread controversy in the art world.