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142 pages

English

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Description

This anthology, Storytellers of Art Histories, gives voice to those who are reshaping art histories: not only art historians and curators, but also archivists and artists.

There is a special focus on gender, race (including Whiteness), class, sexuality and transnationality – all of which are often marginalized in dominant art histories. Each of the contributors in this book has provided short, often very personal, contributions describing how they began to become passionate about their practice. A particular feature of the collection is that there are twice as many contributions by women than by men.

The contributors respond in a multitude of surprising ways, appealing equally to people enmeshed in the field through their work and to those simply interested in the field. The stories you will read take various forms – a letter written to a friend, a revisioned grant application, the pastiche of image and text, children’s fables, interviews, co-authored narrative, memoir, manifesto, apology. A number of the essays perform, through a combination of recollected early memory alongside scholarly research, the roots of the theories they explore through publishing, curating and archival work.

Many of the contributors embody overlapping cultural diasporas that suggest the porousness of borders, challenging the field to understand itself as a product of regional art histories. Collecting this range of narratives born from different workplaces and disciplines speaks to our belief in the potential boundlessness of the art histories that shape the stories we consume.

Storytellers of Art Histories brings together the first-person narratives of an international group of art historians, curators, artists and archivists. This much-needed book book fills a significant gap in the literature, showing how these practitioners’ works come together productively in the teaching and writing of art history. The anthology also illuminates the relationship between curatorial studies and art history.

Primary readership will include artists, art historians, archivists, curators and educators. It will be a useful resource for educators and students connected with undergraduate courses in art history, contemporary art history and curatorial and museum studies.

PREFACE AND ACKNOWLEDGMENTS

INTRODUCTION: THE STORY BEHIND STORYTELLERS

Alpesh Kantilal Patel and Yasmeen Siddiqui

ESSAYS

Nana Adusei-Poku

Michelle Antoinette

Regine Basha

Abby Chen

Delinda Collier

Parul Dave-Mukherji

Jane Chin Davidson

Allan deSouza

Claire Farago and Donald Preziosi

Josh T Franco

Chitra Ganesh

David J. Getsy

RoseLee Goldberg

Amy Hamlin

Beáta Hock

Claire Hsu

Alice Ming Wai Jim

Amelia Jones

Ying Kwok

Miranda Lash

Việt Lê and Waseem Kazzah

Paweł Leszkowicz

Lucy R. Lippard

Margo Machida

Amalia Mesa-Bains

Marsha Meskimmon

Combiz Moussavi-Aghdam

Derek Conrad Murray

Samuel Peck

Raqs Media Collective

Shahzia Sikander

Lowery Stokes Sims

Jaune Quick-to-See Smith

Przemysław Strożek

Gloria Sutton

Sujets

Informations

Publié par	Intellect Books
Date de parution	16 mars 2022
Nombre de lectures	1
EAN13	9781789384291
Langue	English

Informations légales : prix de location à la page 0,1500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Storytellers of Art Histories
Living and Sustaining a Creative Life
The Living and Sustaining a Creative Life series of books reveal the realities of today’s artists and culture producers. These timely publications comprise essays that generously share innovative models of creative lives that have been sustained over many years. Their first-hand stories show the general public how contemporary artists, creative individuals and change-makers of the twenty first century add to creative economies through their out-of-the-box thinking, while also contributing to the well-being of others. Although there is a misconception that artists are invisible and hidden, the truth is that they furnish measurable and innovative outcomes at the front lines of education, the non-profit sector, and corporate environments. Intended to spark conversations across and beyond the arts, each path is an inspiring example that provides exceptional insight.
All of the contributors have been chosen by guest editors who are distinctive and generous in their own lives. It is my hope you enjoy each essay as much as I have. I believe they will surely inspire new avenues for artists to thrive for years to come.
– Sharon Louden, Living and Sustaining a Creative Life series editor
Storytellers of Art Histories
Living and Sustaining a Creative Life
Edited by Alpesh Kantilal Patel and Yasmeen Siddiqui
First published in the UK in 2022 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2022 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Cover image: Shazia Sikander Promiscuous Identities
Patinated bronze 2020 Courtesy of Sean Kelly Gallery
Photo by Jason Wyche
Copy editor: Newgen
Production manager: Tim Mitchell
Typesetting: Newgen
Cover and book design: Holly Rose

Print ISBN 978-1-78938-427-7
ePDF ISBN 978-1-78938-428-4
ePub ISBN 978-1-78938-429-1

Part of the Living and Sustaining a Creative Life series
Print ISSN: 2516-3574 | Online ISSN: 2516-3582

Printed and bound by Lightning Source.

To find out about all our publications, please visit
www.intellectbooks.com
There you can subscribe to our e-newsletter,
browse or download our current catalogue,
and buy any titles that are in print.
CONTENTS
Preface
INTRODUCTION: THE STORY BEHIND STORYTELLERS
Alpesh Kantilal Patel and Yasmeen Siddiqui
ESSAYS
Nana Adusei-Poku
Michelle Antoinette
Regine Basha
Abby Chen
Delinda Collier
Parul Dave-Mukherji
Jane Chin Davidson
Allan deSouza
Claire Farago and Donald Preziosi
Josh T Franco
Chitra Ganesh
David J. Getsy
RoseLee Goldberg
Amy Hamlin
Beáta Hock
Claire Hsu
Alice Ming Wai Jim
Amelia Jones
Ying Kwok
Miranda Lash
Việt Lê and Waseem Kazzah
Paweł Leszkowicz
Lucy R. Lippard
Margo Machida
Amalia Mesa-Bains
Marsha Meskimmon
Combiz Moussavi-Aghdam
Derek Conrad Murray
Samuel Peck
Raqs Media Collective
Shahzia Sikander
Lowery Stokes Sims
Jaune Quick-to-See Smith
Przemysław Strożek
Gloria Sutton
ACKNOWLEDGMENTS
Preface
The cover of our book is a painted bronze sculpture by our contributor Shahzia Sikander. Perhaps well known for her work in manuscript painting, she has worked in a variety of media, such as animation and collaborative performance. We both saw this—Yasmeen in person and Alpesh virtually—in December 2020 when it was first exhibited at Sean Kelly Gallery. On a basic level, Sikander’s work brings together two lineages—the Greco-Roman and (South) Asian. The two figures are intertwined—a Greek goddess and an Indian devata , or spiritual being.
At first glance, the arrangement of legs and arms suggests that the goddess is carrying the weight of the devata . Or is the latter pushing against or away from the former? It is both/and rather than either/or. Indeed, the delicate interplay between pushing and pulling is a profound metaphor for what Gayatri Gopinath writes are the “promiscuous intimacies,” a phrase Sikander appropriates for the title of the sculpture, “of multiple times, spaces, art historical traditions, bodies, desires and subjectivities.” 1
Sikander’s work challenges our assumptions of division (Greco-Roman, Indian) and thereby opens up a space for the writing of a different history of art—one that is porous, conflicted, antiracist, and not heteronormative. The contributors to this volume boldly disrupt borders and divisions—disciplinary and otherwise—and we dedicate this anthology to them for graciously sharing parts of their lives in their deliberate messiness.

Note
1. Gayatri Gopinath, “Promiscuous Intimacies: Embodiment, Desire and Diasporic Dislocation in the Art of Shahzia Sikander,” in Shahzia Sikander: Extraordinary Realities, eds. Sadia Abbas and Jan Howard (Munich: Hirmer, 2021), 119.
Introduction: The Story behind Storytellers
Alpesh Kantilal Patel and Yasmeen Siddiqui
In early 2017, Sharon Louden asked if we would be interested in editing an anthology for her Living and Sustaining a Creative Life book series, which focuses on the lives of artists working today. This was to be a book about the lives of art historians. She saw a confluence: Alpesh an art historian and theorist working within the academy, Yasmeen an itinerant writer and curator. Both of us, in our realms, eschew orthodoxies and ready-made interpretations of the ways artists have worked and continue to work.
Alpesh was intrigued because his own art historical scholarship often involves bringing himself into the histories of art he writes. He felt quite strongly that if art historians would make their stakes in the subjects about which they write visible, then it would be clear that these histories are subjective. Yasmeen’s practice involves working closely with artists, designers, editors, and authors. She is interested in long-term engagements with a broad array of meaning makers to build exhibitions, books, and conversations. This project caught her attention as an opportunity to examine and, perhaps, expand the application of the subject at hand, art histories.
We realized early on that contemporary art histories were being written by a range of individuals and that we wanted the anthology to reflect this fact. For instance, we discussed how archives become so important as source material for many historians, and yet archivists are rarely brought to the forefront for the integral roles they play in writing histories. Also, artists have increasingly begun to deconstruct histories as knowledge. Of course, curators and art historians have more traditionally been seen as shapers of knowledge. Yet, at the same time, we noted a huge ideological divide between curatorial studies and those shaping the histories of art—despite the fact that the display of artworks and the beginnings of the writings of art history emerge together and are therefore intertwined.
The writing of histories is about storytelling, which is by its very nature subjective, yet histories are usually taught and presented as inviolable truths. We wanted to frame the anthology through the lens of “storytellers” rather than “art historians.” As Gayatri Chakravorty Spivak writes, “History is, after all, a storying. The French language has it very conveniently in the word histoire which means both history and story.” 1
We focused on those who were actively dealing with issues of gender, race (including Whiteness), class, sexuality, and trans/nationality. 2 We are proud that we have twice as many contributions by women than men. We also felt that we did not want this anthology to somehow appear as something radical that had never been done before. Therefore, we purposefully focused on an intergenerational approach that would bring together individuals who are early or mid-career with those who have been pushing against cisgender White males for decades. We also wanted to make sure that contributors would not only come from the Euro-American monolith. While the dominant art history is a collection of stories of art from Western Europe and North America, it is generally not marked as the regional art history it is.
Once all of the above was in place, we had to figure out who to invite. Following the format of Sharon’s previous books, we aimed to have 25 to 30 contributors, each of whom would write up to roughly two thousand words. Our long list of names can readily fill at least two anthologies. In the end, we had 35 contributors in total. The individuals we invited reflect the networks we have both developed through our work. Those we did not know were recommended by colleagues.
Each contributor is actively engaging with producing “art historical futures” impacting a broad range of culture sectors. This term and idea, “art historical futures,” was fixating. Our aim is to address the ties that tether futures to pasts. How might we write for the futures we envision without losing sight of what was, what has been? Alongside commissioning this book, we organized the panel “A Reckoning with the Recent Future of Art Historical Knowledge Production” for the 2019 College Art Association (CAA) conference. We crafted a group that would introduce artist Allan deSouza, curator Candice Hopkins, archivist Josh T Franco, art historian Marsha Meskimmon, and director Namita Wiggers in a discussion encouraging a close and honest look at our interdependence as researchers working in and for different types of institutions. In 2021, we continued this inquiry through our moderated panel “Futures of ‘Activist’ Scholarship” at CAA’s annual conference, which invited artist Shahzia Si