0323 How to Write a More Global, More Inclusive History of Art?

Since its beginnings, art history has been torn between a tendency to remain inside local or national boundaries and a more transnational orientation; it has also veered between addressing only the creations of well-recognized white European male solitary artists and assessing the importance of female, anonymous, or collective creators of less highly prized objects-images. The long overdue process of writing art histories that are more global (less European-centered) and more inclusive (less focused on overprized masterpieces) is underway. For professional art historians, the multiplicity of narratives thus offered can be a blessing. For a more general public, though, as well as students and maybe even many professionals it still clashes with an implied master narrative that has been left barely untouched. The necessity for a new master narrative that meets the standards of contemporary scholarly research leads to pressing questions: How do we write it? Who will write it? Is it worth trying?