An Unhomely Feeling

IF 0.1 0 ART
Verónica Tello
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引用次数: 0

Abstract

The idea, or timing, for this issue had something to do with the National Gallery of Australia’s (NGA) Know My Name initiative (KMN). For the uninitiated, KMN seeks to redress the NGA’s decades long gender inequity across the museum’s operations and structures, including staffing, exhibitions and collecting practices and policies. As part of KMN, the NGA organised a conference towards the end of 2020 which some of the contributors and editors of this issue — Diana Baker Smith, Paola Balla, Janine Burke, Alex Martinis Roe, Vikki McInnes, Bhenji Ra, and I participated. Following the conference, McInnes, Baker Smith and I, alongside Fiona Foley and Ngarino Ellis, began conversations around continuing the work of critiquing the gendered discrimination at the centre of art institutions in Australia and New Zealand/Aotearoa. Beyond those aforementioned, we invited Helen Hughes, Soo-Min Shim, June Miskell and Cameron Hurst to contribute to this issue. Since so many of us are based in universities, and we all contribute to the writing of art history in one way or another, we wanted to analyse and dismantle at least some of the biases, vocabularies and structures that perpetuate gender inequity in the discipline that underpins this journal. Whatever the limits of KMN may be (in part registered in Soo-Min Shim’s extended review of KMN in this issue) the NGA’s project has been a catalysed for discussions on ways in which Australian art institutions require a profound restructure to undo who feels at home in such spaces. In a way, the idea for this issue is simple: it adopts methods of institutional critique to unsettle the discipline of art history—that is, to not “make a home” therein given the relation between this act and dispossession—but rather to expose how and why many of us find ourselves on the margins of art history. The issue adopts methods of institutional critique to assess the limits and possibilities of the
不愉快的感觉
这个问题的想法,或者说时机,与澳大利亚国家美术馆(NGA)的“知道我的名字”倡议(KMN)有关。对于外行人来说,KMN试图纠正NGA数十年来在博物馆运营和结构上的性别不平等,包括人员配置、展览和收藏实践和政策。作为KMN的一部分,NGA在2020年底组织了一次会议,本期的一些撰稿人和编辑——Diana Baker Smith、Paola Balla、Janine Burke、Alex Martinis Roe、Vikki McInnes、Bhenji Ra和我参加了会议。会议结束后,McInnes、Baker Smith和我,以及Fiona Foley和Ngarino Ellis,开始讨论在澳大利亚和新西兰/奥特罗亚的艺术机构中心继续批评性别歧视的工作。除了前面提到的,我们还邀请了Helen Hughes, Soo-Min Shim, June Miskell和Cameron Hurst来为这个问题做出贡献。由于我们中的许多人都在大学工作,而且我们都以这样或那样的方式为艺术史的写作做出了贡献,因此我们希望分析和消除至少一些偏见、词汇和结构,这些偏见、词汇和结构使本杂志赖以生存的学科中的性别不平等永久化。无论KMN的局限性如何(部分体现在本期沈秀敏(Soo-Min Shim)对KMN的延伸评论中),NGA的项目已经催化了关于澳大利亚艺术机构需要深刻重组的方式的讨论,以消除在这样的空间中感到自在的人。在某种程度上,这个问题的想法很简单:它采用制度批判的方法来扰乱艺术史的学科——也就是说,考虑到这种行为与剥夺之间的关系,不要在其中“安家”——而是揭示我们中的许多人如何以及为什么发现自己处于艺术史的边缘。本文采用制度批判的方法来评估社会主义的局限性和可能性
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CiteScore
0.20
自引率
0.00%
发文量
16
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