Welcome and Introductions
Michael Conforti, Michael Ann Holly, Aruna D’Souza, and Steven Nelson
The State of the Discipline
Convenors: Andres Kurg and Parul Dave-Mukherji
For many, it appears that there is in art history an inside/outside relationship, one that has shifted over the years and one that is contingent upon one's positions and locales. What is the state of the field in different places, and how do they inform one another? Also, might there be a strategic advantage to staking a position on the outside? If we think about an "exploded art history," a term that itself raises provocative questions, can we more readily form international and inter-regional connections, collaborations, and relationships? As important is the issue of audience. Do the different audiences art history addresses (or might address) hold out the possibility for a new, productive, and potentially critical focus?
Conveners: Esra Akcan and Federico Freschi
This panel sought to assess the contributions and future of postcolonial theory, post-Soviet, and post-apartheid studies. In this vein, we should think about how the three arenas have intersected with and cross-pollinated, and how they can be applied in practice. What are the ideological implications of the term "post-?" Also, a bit of skepticism could be helpful as well. As one participant asked, “Is postcolonialism a passé discourse?” Did it fail us?
Convenors: Abdellah Karroum and Gao Shiming
While workshop participants are made up in large part of scholars who participated in the Clark/Mellon African and East/Central Europe Initiatives, there are those from other geographic areas as well. Important questions pertaining to geography, particularly in a globalized world emerge. Are the current geographic categories —“Africa,” “Eastern Europe,” “West Asia,” etc., — still meaningful? Are there other kinds of formations that would enhance and push art historical inquiry? What might be the implications for rethinking the world in these ways? How might one theorize geography (and with it, time)? What might be the role of art and art history (academic as well as curatorial practice) in doing such work?
*For information on the Getty's Connecting Art Histories initiative, please click here