Why do we need to decentre modernism? Art history and avant-garde art from the periphery.
Professor Partha Mitter
Modernism seems to have become an inclusive global concept in our time, causing anxiety among art historians about the end of art history. At international biennales and triennales, select artists from the periphery, namely, from central and eastern Europe, Asia, Africa, the Americas and Australasia, are offered as evidence that the contemporary art of the West, and the Rest of the World, now share certain common values.
Rather than being universal, these values are in fact the product of the modernism of the western metropolitan centres and its special claims to universality. The roots go back to European expansion in the nineteenth century and no study of non-western modernism can avoid the complex discourse of colonial power and authority, the tendency to consider all non-western modernist art as mere adjuncts of the dominant western modernism. In order to reimagine modernism for the 21st century we need to adjust our mindset.
The lecture will suggest ways of challenging some of the favourite assumptions of art history such as the derivativeness of non-western art and offer some pointers to a non-hierarchical mode of cultural ‘border crossings’.
Professor Partha Mitter, (Honorary D.Lit. Courtauld Institute, London), is Emeritus Professor Art History, University of Sussex, Member of Wolfson College, Oxford and Honorary Research Fellow, Victoria & Albert Museum. In November 2002, ARTNEWS chose Mitter’s book ‘Much Maligned Monsters: A History of European Reactions to Indian Art’ (Clarendon Press, Oxford, 1977) as one of the influential art history books of the century. Mitter’s other books include ‘Art and Nationalism in Colonial India 1850-1922’, Cambridge University Press, 1994; Indian Art, Oxford University Press, 2002; ‘The Triumph of Modernism: India’s Artists and the Avant-Garde 1922-1947’, Reaktion Books, 2007, and numerous scholarly papers, including ‘Interventions: Decentring Modernism: Art History and Avant-Garde Art from the Periphery’, Art Bulletin (December, 2008, Volume XC, Number 4, 531-574). At present. Mitter is working on global modern art and its discontents. He has also been working closely with the Bauhaus Foundation in Berlin and Dessau since 2009.
Refreshments to follow in the UQ Art Museum.
The Mayne Centre Lecture is supported by Philip Bacon Galleries
