Elizabeth Harney and Ruth B. Phillips, editors. Mapping Modernisms: Art, Indigeneity, Colonialism. Duke University Press, 2018. 456 pp. ISBN: 978-0822368717.
https://www.dukeupress.edu/mapping-modernisms
Mapping Modernisms: Art, Indigeneity, Colonialism
is a timely collection of fourteen well-argued essays assembled and introduced
by University of Toronto and Carleton University art historians, Elizabeth
Harney and Ruth B. Phillips. The essays are written by an international team of
art historians and focus on the production of artists working in the early
twentieth century in post- or neocolonial countries formerly under British and French
domination as well as in the United States. Emerging out of the 2010 Clark Art
Institute colloquium, Global Indigenous
Modernism: Primitivism, Artists, Mentors, the essays explore the aesthetic
practices of specific Indigenous and colonized artists, hitherto largely, if
not entirely, excluded from discussions of early twentieth-century modern art. Deemed
to fall outside of the definitions of modernism as propounded by such influential
scholars as Roger Fry, their forms of visual expression were rendered invisible,
as the authors rightly assert, not only in art history's modernist discourse in
academia, but in museum exhibitions as well.
Whether
categorized by others as, for example, Aboriginal, Haida, Inuit, Maori, Melanesian,
Nigerian or Zulu, the authors argue that the modes of visual expression
produced by the artists they discuss share something fundamental. And that is precisely
the artists' engagement with modernity, meaning a rapidly changing world
brought about by the forces of nation-building, industrialization, urbanization
and material changes (i.e., the introduction of, for example, the automobile,
airplane, refrigerator, telephone, radio and a host of other electrical
devices) that impacted peoples' lives across the world.
But,
as the authors of Mapping Modernisms
underscore throughout, engaging with modernism for the artists in question (and
others who shared in their predicaments) also meant dealing with the structures
and legacies of colonialisms and
contemporary artistic currents as well
as, for some, playing with the very idea of primitivism. Collectively, the
authors argue that between the late nineteenth century and the Cold War, modernity
was a transnational phenomenon and global artistic practice, however varied its
local and Indigenous manifestations. By arguing for specific Indigenous and
colonized artists' place within art history's modernist discourse, the authors aim
to re-conceptualize the art historical narratives of modernism.
To
lay the groundwork for the essayists' individual case studies, Harney and Phillips'
cogent introduction discusses the evolution of art history as a discipline in
terms of its complicit history with colonialism, imperialism and
nation-building. The very Western powers which forced peoples into enslavement
or indentured servitude or to otherwise live as colonial subjects well into the
twentieth century, mapped Indigenous and colonized artists out of the art
historical canon, as they literally remapped the world by laying claim to
remote regions. Western powers asserted the universal principles and values of
art while simultaneously removing subjected peoples from canon and physical
spaces, thereby denying the very humanity, intellect and creativity of these
people, among them Indigenous modernists. As the editors stress, the West
needed concepts like "native," "Indigenous" and "primitive" to support their
imperialist ambitions, and the use of these terms shunted the artists under
discussion to the margins of art history. In their introduction, Harney and
Phillips also discuss the growing awareness of this complicit history within
the disciplines of anthropology and, more slowly, art history. In so doing, they
outline the epistemological biases encountered by art historians, such as those
contributing to the volume, as parallel (in a fashion) to those faced by the Indigenous
and colonized artists they discuss. In this spirit, the book, while rigorous in
its scholarship, reverberates with a dual sense purpose.
The
essays are organized into three parts. Broadly speaking, the five essays in Part
I explore how definitions of primitivism often relegated the artistic practices
of twentieth century artists of Zulu, Inuit, Haida, Kwakwaka'wakw
and Māori heritage to "folk art" or "craft." The
categories denoted that the works were neither that pure form of
expression created by their ancestors and influencing Cubists and Surrealists,
nor anything remotely akin to the sophisticated art of those Western modernists.
While arguing against the general assumption that all Indigenous and colonized
artists existed outside of modernism and contemporary artistic currents, the
authors explore the challenges that Indigenous modernist artworks have posed, not
only for the discipline, but also for their creators themselves. The four
essays in Part II examine issues of transcultural exchange, identity and hybrid
creativity. They discuss, for example, the evolution of subject matter in individual
artist's modes of visual expression and how stark subject matter (e.g., contemporary
political events and changes in the lives of women) seep into their work. In
other words, the authors explore how the artworks narrate aspects of modernity
and "the passages from colonialism to decolonization" (Thomas 172). Finally, the
five essays in Part III explore Indigenous
artists' overt engagement with cosmopolitan life and vanguard artistic currents
and, for some of them, the importance of artistic collaborations. Mapping Modernisms' chapter contributors
are Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton,
Chika Okeke-Agulu, W. Jackson Rushing III, Damian
Skinner, Nicholas Thomas and Norman Vorano.
There is no question that the art world is grappling with
how to rectify its exclusionary practices towards Indigenous and colonized
artists, modernist or not. On February 5, 2019, the Museum of Modern Art in New
York City announced that it will close its galleries for four months this
summer to feature more works by "historically under-recognized Modern and
contemporary artists" (Kenney 2019). Hopefully, it will include works by
modernist Indigenous and colonized artists. However, a number of controversies have
swirled around major art museums in recent years, and some of them speak to the
landmines they face as they try to incorporate the art of Indigenous and
colonized artists—and their histories—into their displays and
narratives. In 2017, for example, Walker Art Center in Minneapolis came under
fire from Dakota activists for its installation of the sculpture "Scaffold." The
sculpture evoked the 1862 hanging of 38 Dakota men and was made by the
non-Native artist Sam Durant. In 2017, both the Walker Art Center and the Whitney
Museum of American Art were challenged over their Jimmy Durham retrospective, "Jimmy
Durham: At the Center of the World." Native American activists have challenged Durham's
self-identification as Cherokee (Slenske 2017). In
addition, and most recently, the Metropolitan Museum of Art has been denounced by
Native activists for its inclusion of sacred and
sensitive objects among the Native American objects displayed in its redesigned
American Wing (Angeletti 2019). Such efforts to
promote, in this case, Native American visual forms of expression as art
alongside that of Western art are long overdue, but clearly fraught with risk. Blindsided,
art museums are, it seems, treading into unknown territory, literally and
figuratively.
The strength and scholarly contribution of Mapping Modernism is that, in each of
its essays, the authors ground the aesthetic practices of the artists they
study firmly in the complexity of modern worlds they experienced by demonstrating
how those artists negotiated their place in the world—through their chosen
modes of visual expression. Dispelling assumptions of the past, the authors reveal
the artist to be as cognizant of the exigencies of their complicated histories
and lives, as they are in command of their expressive forms. Mapping Modernism sheds much needed
light onto the artistic production of modernist artists living in post- and
neocolonial countries in the early twentieth century.
Cécile
Rose Ganteaume, Smithsonian National Museum of the
American Indian
Works Cited
Angeletti, Gabriella. "Native
American Group Denounces Met's Exhibition of Indigenous Objects." The
Art Newspaper, 6 Nov. 2018, https://www.theartnewspaper.com/news/native-american-group-denounces-met-s-exhibition-of-indigenous-objects
Kenney, Nancy. "New
York's MoMA to Close for Four Months for Renovation." The Art Newspaper,
5 Feb. 2019, https://www.theartnewspaper.com/news/moma-announces-plans-to-reopen-in-october
Slenske, Michael. "Does It
Matter If Jimmie Durham, Noted Cherokee Artist, Is Not Actually
Cherokee?" New York, 1 Nov. 2017, https://www.vulture.com/2017/11/jimmie-durham-at-the-center-of-the-world-whitney-museum.html