On the Impossibility of Global Modernisms

Abstract

As art history begins to take seriously the imperative to decolonize, one of the most vexing areas of resistance to change is the conventional periodization of art historical epochs. Even while acknowledging that spatial divisions like West and Non-West are deeply problematic, as are geographic divisions per se, we continue to honor the “history” in the discipline’s nomenclature by insisting on temporality as a primary organizing category. The period commonly designated as “modernist” (roughly 1860 to 1960) is particularly difficult to divorce from Western ideals of progress as defined both by technological “advances” and by the heroization of artistic “innovation”. When the modernist moment attempts to open itself up to global narratives, its structuring undercurrent is a particular vision of the art of the West. In this essay, I read the conventional narrative of modernism through a decolonial lens and revisit the reception of Impressionism in the 1910s and 1920s in Mexico to consider how an artistic idiom widely seen as retrograde at that moment became the basis for a radical rethinking around the democratization of art. My analysis exposes how, because of its championing of novelty and its inherent Eurocentrism, the category of modernism obscures and suppresses artists and narratives that fall outside of its limited purview.

Keywords

• Impressionism
• Modernism
• Global modernisms
• Mexican art
• Decolonizing art history
• Critical race art history