Worlding Global Art Histories through Teaching

Beschreibung

Worlding Global Art Histories through Teaching positions art history education as a tool for world-making and democratic engagement in a time of division. It is a vital resource for educators and students that considers global art histories not as a top-down structure, but as a dynamic and evolving process. Bringing together essays, conversations, and reflections on syllabi, the contributors consider how pedagogy cultivates critical thinking and decolonial awareness. Drawing from teaching experiences in Canada, China, Germany, Singapore, the United States, and other countries, this collection advocates for relationality and pluriversal knowledge as a way to challenge a Eurocentric canon.

Autor*in

Ming Tiampo
Ming Tiampo is Professor of Art History and co-director of the Centre for Transnational Cultural Analysis at Carleton University. Her current projects include Mobile Subjects: Contrapuntal Modernisms, which critically examines post-Imperial histories of migration in the former French and British Empires, and Intersecting Modernisms, a co-edited sourcebook on global modernisms. Her research collaborations include Asia Forum, the Canadian BIPOC Artists Rolodex, and Worlding Public Cultures, for which she is the co-lead. Tiampo’s previous books and projects include Jin-me Yoon (Art Canada Institute, 2023), Gutai: Splendid Playground (Solomon R. Guggenheim Museum, 2013), and Gutai: Decentering Modernism (University of Chicago Press, 2011).

Themen in »Worlding Global Art Histories through Teaching«

world-making global art history curriculum design pedagogy decolonization pluriversality cultural pluralism knowledge production educational practice disciplinary critique

Stimmen zu »Worlding Global Art Histories through Teaching«

Urgently needed in our current moment of global wars and social division, this book asks how education in the arts can help to keep democracy alive. Acknowledging the global rise of fascism and ethnonationalism, which closes off exposure to differing perspectives, this book is important in how it envisions arts education as providing encounters and negotiations with unfamiliar ideas. This is essential reading for arts educators invested in creating anti-racist pedagogy that inspires and supports postcolonial perspectives within classrooms and research centered on social justice, dignity, and equality. Certain chapters have transformed my own pedagogy, and others are great for students. I look forward to implementing these texts in my own courses. — Andrew Gayed, Associate Professor of Art History and Visual Culture, OCAD University, and author of Queer World Making: Contemporary Middle Eastern Diasporic Art
()

Tianxia, translated as ‘everything under heaven’ in this book's conversation between the art historians Birgit Hopfener and Song Xiaoxia, is one of several fascinating terms proposed as a cognate for ‘global’. Deriving from ancient Chinese cosmology, it signals a relational politics of ‘befriending the hostile’ and a practice of ‘internalizing the world’. Across its pages, Worlding Global Art Histories through Teaching is chock-full of resources for writing, thinking, and seeing the history of art in this spirit — with humility and curiosity, attuned to affinities and encounters, and always from an embodied and self-reflexive point of view. ‘Worlding’, as the contributors insist, proceeds from located, vulnerable dialogues in the classroom, the archive, and the studio to make and remake the globe for art history. The book is essential reading for teachers and researchers alike, invested in the ‘periphery-in’ renovation of the field. But it’s also a testament to the excitement of our work in this moment of transformation. — Tammer El-Sheikh, Associate Professor, Art History, York University, Toronto, Canada
()

How do we teach the history of global art in a fair and equitable way when the circumstances of art history’s production have rarely been either? How might the theories and methods of art history — largely developed to account for European art, while regarding art made elsewhere as ‘other’ — be revised and replaced? How might contemporary art have critical and historical perspectives applied to it that seek worldly freedom, but in doing so, must fight through artworld institutions that can favour vacuous commodification, globalist homogeneity, and ‘glocalist’ branding? The editors and authors of this chapbook deftly identify such challenges. Drawing on their experience as teachers in Canada, Singapore, China, the United States, and Germany, they offer vivid, concrete examples of syllabi that repurpose courses on ‘global art’ to emphasize local, regional, and international values — in a word, ‘worldly’. — Terry Smith, author of Contemporary Art: World Currents (2011), Andrew W. Mellon Emeritus Professor of Contemporary Art History and Theory, University of Pittsburgh
()

The editors of this valuable study have expanded the mission of ‘worlding global art histories through teaching’, as underlined by the book’s title. Recognizing the different ways to educate across diverse cultural geographies, different methods for the study of art’s histories, exhibitions, and collections are explored across seven chapters. The book’s capacity for fostering the co-creation of knowledge between teachers and students offers a much-needed update through creative approaches and educational models. In our time of artificial intelligence, the expressive ability to ‘create worlds’ in the classroom by exploring and examining art in the global context is a significant contribution to the pedagogy of art history. — Jane Chin Davidson, Professor of Art History and Global Cultures program, California State University, San Bernardino; co-editor of Companion to Contemporary Art in a Global Framework
()

Details

Link teilen