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Allan Desouza Associate Professor, Department of Art Practice University of California, Berkeley KEYWORDS

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Allan Desouza Associate Professor, Department of Art Practice University of California, Berkeley KEYWORDS South Asia ISAS Research Institute for South Asia Studies University of California at Berkeley Notes Fall 2018 HOW ART CAN BE THOUGHT A Handbook for Change Allan deSouza Associate Professor, Department of Art Practice University of California, Berkeley KEYWORDS What happens in our encounters with art, and how might we think through and under- stand those encounters? What terms can we use to translate and share our experiences with others? How do we judge if art is good, and if it is for the social good? In How Art THIS WORK WILL BE Can Be Thought Allan deSouza investigates such questions and the popular terminology INVALUABLE TO THE CASUAL through which art is discussed, valued, and taught. Adapting art viewing to contemporary GALLERY VISITOR AND demands within a rapidly changing world, deSouza outlines how art functions as politi- THE ARTS PROFESSIONAL cized culture within a global industry. He emphasizes thinking and talking about art as ALIKE, TO ALL THOSE WHO active processes that not only produce meaning and direct how viewers experience art, REGULARLY LOOK AT, THINK but steers viewer experience towards decolonizing possibilities. In addition to offering new pedagogical strategies for art education and the training of both viewers and artists, ABOUT, AND MAKE ART— deSouza provides an extensive analytical glossary of some of the most common terms ESPECIALLY ART STUDENTS used to discuss art while focusing on their AND FACULTY, ARTISTS, ART current and changing usage. He also shows CRITICS, AND CURATORS. how these terms may be crafted to new ar- tistic and social practices, particularly in what AESTHETICS it means to decolonize the places of display and learning. He considers different meth- ods, outcomes, and values of critique, at a ART CRITICISM time when higher education is under threat and arts and humanities programs are under CONTEMPORARY ART particular scrutiny as to their social and financial value. The book concludes with a CULTURE close examination of viewing habits through the example of Mark Rothko’s abstract paint- ings, and how the conventional language of DECOLONIZATION abstraction can be repurposed towards new priorities within the contemporary world. DIVERSITY DeSouza’s work will be invaluable to the ca- sual gallery visitor and the arts professional POLITICAL ART alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators. POSTCOLONIALISM DUKE UNIVERSITY PRESS, 2018 CLOTH/PAPERBACK ISBN: 97814780-0036-5 /-0047-1 336 PAGES CHAPTER BREAKDOWN & ABSTRACTS INTRODUCTION. A Foot in the Door KEYWORDS he book begins with a biographical narrative • ASIAN AMERICAN ART Tof the author’s racialized experiences as an art student and faculty at different schools. It • BLACK ARTS MOVEMENT considers modes of inclusion and exclusion, and (BRITAIN) possibilities of decolonizing art education and art • COLONIZATION practices. These are in turn considered in relation Photo credit: Taro Masushio to artistic aspirations and idealism, setting the • DECOLONIZATION stage for multiple perspectives, and pushing • DISCRIMINATION ALLAN DESOUZA towards languages and practices that can meet is a trans-media artist whose the challenges and conflicts of the contemporary. • IDEALISM works restage colonial-era • INSTITUTIONAL RACISM material legacies through counter- strategies of humor, fiction, re- CHAPTER EXTRACT • MEMORY inscription, and (mis)translation. “… I was accepted to Bath Academy of Art in the Painting depart- • MODERNISM His work has been exhibited ment, possibly because a number of their faculty–including the • PEDAGOGY extensively in the U.S. and just-retired Howard Hodgkin–were Indophile painters. However, internationally, including at the when I arrived for my first semester, I felt they were disappointed Walther Collection, Germany; Pompidou Centre, Paris; 2008 that I wasn’t Indian enough, and unlike some of the faculty who made regular trips to India, I had never Gwangju Biennale, Korea; 3rd been there. Despite encouragement about the “wonderful opportunity,” I also declined to be Hodgkin’s Guangzhou Triennale, China; gardener. It wasn’t the last time I’d be told how ungrateful I was. ev+a Festival, Ireland; and in recent solo exhibitions at the Not being Indian enough was probably getting under my skin, so to speak, and so, during my first year, Yerba Buena Center for the Arts, I went to India. With the brashness of youth, I simply showed up at art schools, looking for artists. With SF; the Phillips Collection, DC; SF unbounded generosity, I was welcomed and intro- Camerawork; Fowler Museum, duced to artists and critics like Vivan Sundaram and LA; Krannert Art Museum, Geeta Kapur in Delhi, Nalini Malani in Bombay (now Champaign, IL; Talwar Gallery, Mumbai), Bhupen Khakhar, Ghulam Mohammed NY, and Talwar Gallery, Delhi. His Sheikh, Nasreen Mohamedi, and then-students writings have been published in various journals, anthologies, and Rekha Rodwittiya and Ajay Desai in Baroda. These catalogues, including Third Text, artists were establishing international careers, London; Wolgan Art Monthly, prompted in no small part by the incisive writings South Korea, X-TRA, Los Angeles. of Geeta Kapur. He is Associate Professor and After my BFA, and back in London, the idea of a Chair of Art Practice at the career for an “Indianish” artist, with now Indianish University of California, Berkeley. work, seemed too distant. I was repeatedly told that I was too tainted by the west. This was an He is the author of The Sikhs in Britain (Batsford, 1986), obvious Catch 22, an effective lockout. Whenever I coeditor of Crossing Black Waters would walk through any door, I was too western- (Working Press, 1992), as well as ized, but not western enough–“white, but not numerous essays and text works. Allan deSouza He is represented by Talwar Gallery Polar Sky (fghtbtwntgrndbffl), from the Redactions series, in New York City and New Delhi. 2011, digital painting, 60” x 40”. Courtesy of the artist and Talwar Gallery, New York and New Delhi. [email protected] CHAPTER BREAKDOWN & ABSTRACTS PERSONAL quite,” in Homi Bhabha’s inimitable phrase–or I would be required to perform an STATEMENT orientalist Indianness. If I were an actor, I would have only got auditions for roles with bad accents.” THE BOOK GREW OUT OF QUESTIONS THAT MY STUDENTS HAVE ABOUT ART’S FUNCTION IN ... THE WORLD. WHAT DOES ART DO? SHOULD ART “In the U.S., it made no sense for me to claim the term black, or it was understood RESPOND TO THE PRESENT? IS ART’S PURPOSE–AS only as that I was mixed-race. On the other hand, when I said that I was Indian, I ONE IS OFTEN TAUGHT IN ART SCHOOLS–TO TAKE was once asked, in all seriousness, “What tribe?” THE LONGER VIEW, TO NOT BE SWAYED BY EVER- After moving to New York in 1992, I became involved with Asian American art, and CHANGING CURRENT CIRCUMSTANCES AND CRISES, in particular with the artists’ network, Godzilla. Godzilla’s focus, and the coali- TO NOT BE CAUGHT IN THE SHORT-TERM OF ONLY tional possibility that attracted me, was the space between Asia and America, as EVER REACTING? SHOULD ART HAVE A CONSCIENCE, a space of multiplicity, connection, and possibility, rather than how the “hyphen- OR IS IT MEANT TO BE ABOVE THAT? WHEN DOES ated identities” are framed as sites of isolation, segregation, and limitation.” BEING “ABOVE” CONSCIENCE MEAN AVOIDING ONE? ... MY OWN QUESTIONS AS A TEACHER PARALLELED THOSE “I was never an exemplary student, and seemed to consistently generate low-or- OF MY STUDENTS. WHAT IS MY ROLE AS A TEACHER? no expectations from faculty. At worst, faculty’s sweeping pronouncements about TO REMAIN ABOVE BOTH CONSCIENCE AND THE FRAY? art and society rarely were sweeping enough to encompass my experience. Not TO KEEP MY “POLITICAL” VIEWS TO MYSELF AND only did it make them seem limited, it placed me outside of their knowledge, as ADDRESS ONLY THE “ARTISTIC” ISSUES OF STUDENTS’ though there was no place and no language for my own. Even as I was molded through these institutions and their behaviors, I reacted against much of what WORK–IF THAT SEPARATION CAN INDEED BE MADE? they thought they were imparting to me. However, I am entirely in their debt, and in the case of the U.S. institutions, I mean this literally.” AT VARIOUS SCHOOLS WHERE I TEACH AND VISIT, THESE ARE NOT ISOLATED QUESTIONS: I KNOW THAT ... MANY STUDENTS ARE FRUSTRATED WITH THE LACK OF “Who succeeds, on whose terms, and what constitutes success form the macro and POLITICAL ENGAGEMENT; THEY DEMAND INCREASED daily politics of DIVERSITY OF FACULTY AND PRESUMABLY OF OPINION. academia, and THEY WANT THEIR WORK TO MEAN SOMETHING IN also of art. They THE WORLD. BALANCING THIS, THEY ARE PAINFULLY mirror artistic AWARE OF THE LONG-TERM FINANCIAL BURDEN OF questions about ART EDUCATION, AND WANT REASSURANCE THAT art’s function in and with the THEY’VE MADE THE RIGHT DECISION TO PURSUE ART. world (I am using Paulo Freire’s THERE ARE NO REASSURANCES, AND ART DOES NOT phrasing of “in” SUPPLY EASY ANSWERS, WAYS FORWARD, OR A and “with” to VIABLE CAREER–PAID OR OTHERWISE. NOR DOES emphasize being EDUCATION. BOTH CAN BE FULLY COOPTED TO BECOME as relational). MEANS OF CONTAINMENT AND SELF-PERPETUATION, Daniel Joseph Martinez What does art Museum Tags: Second Movement (overture); or, WHILE SUPPLYING PROMISE, ENTERTAINMENT AND do? Should art respond to the Overture con Claque (Overture with Hired Audience ESCAPE. AND YET I PURSUE BOTH ART AND TEACHING, Members), 1993 Whitney Biennial, Whitney present? Is art’s purpose–as one BELIEVING THAT THEY HAVE IMPORTANT ROLES TO Museum of American Art. Metal and enamel is often taught in art schools–to paint, 12” x 15” / 30.5 x 38.1cm.
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