The Routledge Companion to Decolonizing Art History

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
List of Contributors
Section I: Introduction
	Introduction
Section II: Being and Doing
	1 Writing Art History in the Age of Black Lives Matter
	2 Being an Indigenous Art Historian in the Twenty-First Century: How Can Māori Adornment Reveal New Ways of Thinking about Art, Its Histories, and Futures
	3 Reinvention at the Wheel: Shaping New Histories in the Decolonization of Disability
	4 The Power of Absence: An Interview with Ken Gonzales-Day
	5 Art in Paradise Found and Lost
	6 The Maquette-Modèles of Bodys Isek Kingelez: Creole Visions of Decolonial Monuments
	7 Decolonizing La Revolución: Cuban Artistic Practice in a Liminal Space
	8 Museums Are Temples of Whiteness
	9 Stepping Out of the Shadow of Imperial Monochrony: A Place-Centric Approach to Decolonizing Japanese Art History
	10 On Failure and the Nation-State: A Decolonial Reading of Alfredo Jaar’s A Logo for America
	11 Light as a Feather: The Anti-Capitalist Radiance of Decolonial Art History
Section III: Learning and Listening
	12 Where’s Decolonization? The Ohketeau Cultural Center, Indigenous Sovereignty, and Arts Institutions
	13 Overcoming Art History’s Meta-Narrative
	14 Pathways to Art History: Pedagogy, Research, and Praxis through a Decolonial Lens
	15 Pedagogies of Place: Listening and Learning in the Margins
	16 The Unbearable Lightness of Adjuncting Art History
	17 Decolonial Cinematic Flows: Histories, Movements, Confluences
	18 Re-indigenizing Ancient Mexican Glyphic Codices
	19 (Not) Performing Pasifika Indigeneity: Destabilizing the Researcher as Decolonizing Method in Art History
	20 Afterlives/Futurelives: Imagining Mermaids and Recalling Ghost Dancing
	21 Decolonizing California Mission Art and Architecture Studies
	22 Radical Pedagogy: Environmental Performances and the Politics of Hope
Section IV: Sensing and Seeing
	23 Spooky Art History (or, Whatever Happened to the Postcolonial?)
	24 Spatial Abstraction as a Colonizing Tool
	25 Dishumanizing Art History?
	26 The Digital Voice as Postcolonial Proxy
	27 Reflecting on Whiteness in Recent Contemporary Artwork Exploring Transnational Poland
	28 Racialization, Creolization, and Minor Transnationalism: Black and Indigenous Exchange in Spanish Colonial Visual Culture
	29 The Imperial Landscape of Eighteenth-Century Anglo-Indian Portraiture
	30 Unseeing Art History: Inca Material Culture
	31 Debility and the Ethics of Proximity: Spatial and Temporal Immediacy in the Work of Candice Lin
	32 Decolonizing Crocodiles, Repatriating Birds: Human-Animal Relations in the Indian Landscape
	33 “We Are So Many Bodies, My Friends”: Countervisibility as Resurgent Tactics
Section V: Living and Loving
	34 “She Carried with Her … A Large Bundle of Wearing Apparel Belonging to Herself”: Slave Dress as Resistance in Portraiture and Fugitive Slave Advertisements
	35 Rina Banerjee’s Decolonial Ecologies
	36 The Teaching Is in the Making: A Relational and Embodied Experience of Anishinaabe Photographs
	37 Reflections on a Latinx Decolonial Praxis for Medievalists
	38 The Waters Surrounding Wallmapu, the Waters Surrounding Life
	39 Dialogical Episodes for Decolonizing (Art) History
	40 Inner Spaces: The Depth Imagination
	41 Maria Auxiliadora da Silva: Nossa Mãe Maria of Terreiro Life and Faith on Black Grounds
	42 Michael Richards: Performance as Ritual and Black-Indigenous Haptic Visuality
	43 Bittersweet Histories and Tarnished Gold: Slavery’s Sounds, Sights, and Silences in the Legacy of Dutch Brazil
	44 A Personal Take, or Stuck in the Middle/Side and Going Nowhere: An Attempt at Imagining a Methodology for Engaging Colonial Photographic Archives, Histories, and Subjectivities
Section VI: Afterword
	45 Towards a Combative Decolonial Aesthetics
Index