Globalising Art, Architecture and
Design History?Debating Approaches to Curriculum Change in the
Friday 19 September 2003
London House, Goodenough College, Mecklenburgh
Square, London WC1
"The GLAADH Project as a whole has created an impetus for
change in a period that has coincided with some particularly difficult years
for the discipline of art history within universities. There is a great deal
more to do. GLAADH leaves a legacy - the issue is maintaining the impetus."
(Sue Malvern and Paul Davies).
"It is important to keep opening up the questions and not to
close them down. How can we continue this project which must be the most
significant for art and design history / visual culture?"
"Excellent choice of plenary speakers - Mercer and Preziosi
- a real coup to have them."
"Well that's over and I'm GLA(A)D(H)
T.S. Elliot, "The
"All the case study contributions are gamely making limited
and pragmatic amendments to an intransigent disciplinary structure."
"Tantalising not to know which of the talks to go to when
looking at the programme - I wanted to go to them all."
"If cultural diversity is not just reflected in academic
specialisms but also in pedagogic make-up, I fail to see, alas, judging by the
present conference, where a more diverse subsequent generation of teaching
staff will emerge from."
"Thanks for starting to shake things up."
"I was impressed by how much the project had achieved and by
how trying to integrate new subject matter and approaches had a wider impact on
their teaching generally. GLAADH had been a huge success!"
"Good questioning of the role of Art History in cultural
diversity per se by Donald Preziosi."
"We need to encourage the questioning of both why and how we
include cultural diversity. It is a huge task which cannot be easily
implemented. Not only the inclusion of objects and "new histories" but also the
rigorous critique of the assumptions by which we facilitate that inclusion is
"Imbalance between the discussion of pragmatic pedagogic
issues and of the underlying epistemological issue of the supposed subject of
the day. Needed less of the former and more of the latter."
"Erasing the distinction between western - non western
should require us to begin to clarify what our aims for "globalisation" really
are. As it is, we are leaving too much unstated, and running the risk of
creating a philosophical vacuum at the heart of Art History."
"In globalizing the study of the visual arts it is vital
that we do not confine ourselves to the "major" arts of architecture and fine
art but embrace too the crafts, design and visual communication in which so
many are also interested" (Ken Quickenden).
"Globalization without political and intellectual
examination is an empty gesture (and vice-versa)."
"As an initiative leader it has been great to attend the 2
'initiative workshops' and this final conference. Not only to discuss the
issues raised at intervals, but also to see the progress the other initiatives
have made over the last 18 months. Where to next?" (Thomas Dowson).
"The history of dissent is always and only written by the
dissenters. This is almost true" (Allen Fisher).
"I felt encouraged by the many developments heard about and
particularly thought that one shouldn't be afraid of doing something first
because one can't do everything. A truly globalized art history will take
perhaps a century (or more) to achieve - we have to start somewhere!"
"Donald Preziosi's comment at the end about the way that
visual culture and identity need not be synonymous and can create false
differences was very timely."
"As a foreigner, I found it very instructive to see how the
British University is striving to adapt its curriculum to the challenges of
post-colonialism and globalisation. The results seem to be already very
"Imagination will find ways of teaching a wide
acknowledgement of human creative identity but needs to be sustained by
accessible visual and textual material. Libraries have responsibilities as well
as teachers to be inclusive." (Marion Arnold).
"I would endorse Rasheed Araeen's furiously radical position
that the philosophical basis / roots of art history need to be reflected upon
to shift significantly. Until then (and as Donald pointed out, Art History has
been very powerful in modernity) this "diversity" making and "globalizing"
might just be a cultural tourism. This is a now crucial point for Design
History which is more deeply entrenched in Eurocentrism and seemingly ever
resistant to any (post-colonial) disciplinary reflexivity." (DB).
"Changing the curricula of Art History takes time. This
excellent project has demonstrated a growing awareness and indeed willingness
to change. Oh good. Thank you all."
"Globalization is more global for some than for others."
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