Can Art History Be Decolonised?

Art|Art History

In recent years, there has been a growing demand for Art History to be decolonised. As a subject which has often been taught from a Eurocentric perspective, the need to diversify the teaching of art history and open it up to non-Western contributions is becoming increasingly important.

This is due to the fact that many of the traditional art historical narratives have neglected or even outright ignored works from other parts of the world.

In order for art history to be truly decolonised, there needs to be an acknowledgement of the fact that art from around the world has had an influence on each other, and that this should be taken into account when teaching the subject. This means that instead of focusing solely on Western art traditions, students should also be exposed to works from Asia, Africa and Latin America. In addition, it is necessary to recognise that these works have often been produced in different contexts than those of Western Europe and North America, and therefore should not be judged using the same standards.

It is also important that when teaching an artwork’s context, the focus should not just be on its technical aspects but also on its cultural significance. By understanding its social and political implications as well as its aesthetic elements, students will gain a more holistic understanding of its importance within culture at large.

In order for art history to truly be decolonised, it is essential that museums also play their part in diversifying their collections and exhibitions. This includes acquiring works from non-Western cultures as well as displaying them prominently in major exhibitions. It is only by taking these steps that we can truly begin to understand and appreciate a wider range of artwork.

Conclusion:

Can Art History Be Decolonised? The answer is yes – but it requires an effort from all involved in order for it to happen.

From universities who must diversify their curricula, museums who must acquire and display works from non-Western cultures, right down to individual students who must become aware of all aspects of an artwork’s context. Only then can we truly begin to appreciate a wide range of artwork without bias.