As part of the International

Therefore, ecole Normale Supérieure . The conference will take place on Thursday 6 April from 2.30 pm to 3.30 pm at the UOC’s headquarters (Avinguda Tibidabo. 39-43 08035 Barcelona). Registration: Admission is free. but you must register here . seminar-international-uoc-humanities social sciences Béatrice Joyeux-Prunel will propose a reflection on methodologies that could help us to globalize and decolonize the history of art. A field that has changed little and continues to establish the same patterns. Could we start by decolonizing our methods? Is it optimal to propose a computational response to the decolonial challenge? Can these methodologies serve as a starting point for a decentralized history of artistic modernity? Below is a short summary of the central theme of the day: Summary This paper proposes a reflection on the methodologies which might help us to globalize and even to decolonize art history.

For instance, and to depart from the modernist canon. As historians like James Elkins have continued to remind us. nothing has changed. or so little. Above all, in the way modern and modernist collections are exhibited. and in the way the history of art is told. We continue to discuss the same artists. the same places. and the same movements. with few moments of self-correction. Decolonial thinkers. like Boaventura De Sousa Santos. call for a ‘new ecology of knowledges’. proposing to splice scientific methods with other ways of thinking (non-Cartesian. non-western. etc). This task is far from simple: the decolonization of our minds is a profoundly difficult process.

Yet We Might Begin

After that,  by decolonizing our methods. and so by putting Ghana phone numbers distance between ourselves and our research objects and the discourse that has overdetermined them for so long. Quantitative, cartographic. sociological and transnational approaches can help us to do so. Fully acknowledging the paradoxicality of proposing a computational answer to the decolonial challenge. I still argue that the “distant reading” of sources with digital methods shows previously unobserved phenomena and helps us to reconsider existing hierarchies in art history. before using other modes of inquiry.

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Moreover, with this horizontal re-reading comes a new perspective: one which nuances national histories through a transnational and global approach. After that, which attenuates the monocentric tendencies of a discipline that accords an excessive importance to a handful of cities (Paris and New York) and instead emphasizes circulation; one which challenges the relevance of monographic studies and their hagiographic tendency. in favor of a comparative approach where every kind of actor has a relative position; one which cares for the social as much as for the history of forms. These methodologies can offer a starting point for a mobile and decentralized history of artistic modernities.

Associate Professor For

Most importantly, contemporary Art at the École Normale Supérieure. Paris. She works on the history of the avant-garde in a global and transnational perspective. An area of research that brought her to challenge the methodologies used. In the study of art globalization and explore quantitative and cartographic approaches. Digital humanities. and collaborative research. She is the founder and director of the. Similarly, aRTL @ S project since 2009 She directed the collective publication. L’Art et la Mesure. Art History and Quantitative Methods: Sources. Tools. Good Practices (2010). and coedited with Thomas DaCosta Kaufmann and Catherine Dossin the book. Circulations in the Global History of Art (Ashgate. 2015).

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