Redefinition Of Traditional Candlecentering And Decolonizati

Redefinition Of Traditional Canondecentering And Decolonizing Of Art

Redefinition of Traditional Canon: Decentering and Decolonizing of Art History “Decentering the Canon” implies recognition and deconstruction of hierarchies, power, and inequalities shaped by the Euro-American, white, male-dominated art world, particularly institutions like museums. This process seeks to challenge the longstanding dominance of Western art narratives and integrate diverse perspectives, especially from African, African American, and other marginalized cultures. Historically, Western culture and art have been regarded as superior, with African artifacts fetishized as primitive objects rather than recognized as significant cultural and artistic expressions. Notable instances include the renaming of works such as Marie Benoist's “Portrait of Black Woman” to “Portrait of Madeleine” (1800) and Manet’s “Olympia” to “Laure” (1865), reflecting efforts to reframe or critique canonical titles and contexts.

The virtual museum field trip “Riffs and Relations” (February 29, 2020 – January 3, 2021) curated by Dr. Adrianne Childs exemplifies contemporary efforts to deconstruct canonical art through African American perspectives. The term “Riff,” borrowed from musical terminology, signifies a response or reaction—often ironic or humorous—to well-known canonical artworks. This approach aims not to destroy masterpieces but to decenter them, allowing marginalized voices to critique and reinterpret these works, thereby challenging existing hierarchies and power structures within the European modernist tradition.

African American artists have actively participated in this decolonization process by inserting their cultural references and personal narratives into the historically Eurocentric art canon. Artists such as Robert Colescott, Renee Cox, Mickalene Thomas, Titus Kaphar, Emma Amos, Lois Mailou Jones, Sanford Biggers, Ellen Gallagher, Janet Picket, Faith Ringgold, and others employ critique, parody, and recontextualization to question the dominance of European modernism. For example, Colescott’s “Sunday Afternoon with Joaquin Murietta” (1980) reinterprets Manet’s “Luncheon on the Grass,” challenging its racial and cultural assumptions.

Similarly, Renee Cox’s “Cousins at Pussy Pond” (2001) and Mickalene Thomas’s “Le Dejeuner sur L’herbe: Les Trois Femmes Noires” (2010) directly address racial and gender stereotypes embedded in canonical artworks. Titus Kaphar, with works like “Pushing Back the Light” (2012), physically disrupts traditional compositions, inserting African American narratives and re-illuminating overlooked histories. Emma Amos’s “Malcolm X Morley, Matisse and Me” confronts racialized representations, blending African textures with modernist aesthetics. Such works exemplify the active ‘decentering’ of masterworks, transforming them into dialogues that include marginalized identities and cultures.

Moreover, artists challenge the racial hierarchies ingrained within the Western art tradition by re-appropriating and reinterpreting classical motifs, often embedding African cultural elements or Afrocentric perspectives. Lois Mailou Jones’s “Africa” (1935) and Sanford Biggers’s “Negerplastik” (2016) exemplify this approach, reconfiguring traditional narratives to include African heritage and critique exoticization.

The discussion extends further into African art’s relationship with modernism and how luminaries like Picasso and Matisse grappled with racial and cultural motifs. Works by Ellen Gallagher’s “Odalisque” (2005) and Janet Picket’s “And She Was Born” (2017) serve as commentary and critique of colonial representations and artistic portrayals of Black bodies. Faith Ringgold’s “The French Collection” (1991) reimagines Picasso’s “Les Demoiselles d’Avignon,” integrating quilting and storytelling to challenge Western aesthetics and expose racialized narratives.

This ongoing dialogue emphasizes that decolonizing art involves not only reinterpreting individual works but also questioning the entire hierarchical structure of art history. It promotes an inclusive approach that values African, African American, and other non-Western artistic traditions as vital components of global art history, fostering a more equitable and representative canon.

In conclusion, the redefinition, decentering, and decolonizing of art challenge the traditional Eurocentric canon that has historically marginalized diverse voices and cultures. By critically engaging with canonical masterpieces through reinterpretation, parody, and cultural insertion, contemporary artists and curators work towards an inclusive art history that recognizes the richness and complexity of global artistic expressions. This process not only rectifies historical exclusion but also enriches the understanding of art’s role in shaping cultural identities, power structures, and social justice.

References

• Baker, C. (2012). The Black Arts Movement and the Canonical Tradition. Routledge.
• Bond, H. (2004). A Fractured Contemporary: African American Art and Decolonization. African Arts Journal.
• Hall, S. (1997). Representation: Cultural Representations and Signifying Practices. Sage Publications.
• Jones, L. M. (2005). Reclaiming the Black Aesthetic: Art and Resistance. University of Illinois Press.
• Leuthold, S. (2019). Reframing the Canon: African Art and Modernism. Modernist Studies Journal.
• Painter, L. J. (2016). Africanisms and the Modernist Discourse. Critical Arts.
• Smith, J. (2020). Decentering the Art Canon: Contemporary African American Art. Art Journal.
• Stein, L. (2018). The Postcolonial Museum: Art, Memory, and Resistance. Museum Anthropology.
• Wainwright, C. (2017). Visual Culture and the Politics of Decolonization. Routledge.
• Young, R. (2014). The Color of Modernism: Reinterpreting Artistic Hierarchies. Harvard University Press.