Artists from all over the world studied at the Slade School of Fine Art, London, but the categories of art history and the organisation of museums have rarely allowed them to be studied, taught or exhibited alongside each other. Their separation and dissociation can be attributed to art history’s strong attachment to national narratives. The nation state has operated as the epistemological framework through which artists are grouped and works of art are examined. Even as the ‘global turn’ has sought to combat the Eurocentric assumptions of modernism, it has often perpetuated the discipline’s methodological nationalism, obscuring the cosmopolitan networks to which artists belonged.1 These national narratives contribute to larger continental frameworks that exacerbate divisions between artists who often sat side by side together in the same classroom.
|Publication status||Published - Nov 2022|