From nations to networks : an analysis of North American world art historical discourse during the transcultural turn, and the rise of the museum as agent
department or school: Creative and Critical Studies, Faculty of (Okanagan)
data provider: DSpace
degree campus: UBCO
creator: Hager, Nathalie N.
issued: 2020-01-27T17:02:33Z
issued: 2020
related degree: Doctor of Philosophy - PhD
degree grantor: University of British Columbia
description: This dissertation offers an analysis of the emergent English-language discourse of World Art History in North America during the transcultural turn in art history. It inquiries into what World Art History is by examining how the proposal for World Art History is impacting twenty-first century North American art historical theory and scholarship, and assesses the relevance of World Art Historical discourse for scholars of global contemporary art. With a targeted focus on the museum as a site leading in the development of World Art Historical research principles—including an original Canadian case study examining the National Gallery of Canada’s biennial exhibition series—it also assesses whether, and to what degree, a turn to World Art History effectively responds to the criticism of persistent Eurocentrism in the discipline. I argue that World Art History encompasses a series of moves that elasticize and often collapse the political borders, cultural boundaries, and racializations that have long bound together the European nation-state as the (artificial) construct upon which Western art history as a discipline—and the project of Western self-hood itself—is built. Further, I argue that in its challenge to the nation-state, World Art History questions not only the discipline’s ideological roots but also its signature methodologies and theoretical frameworks to reimagine the current Western-facing disciplinary frame in ways that re-orient and widen it according to a new global perspective. While many critics view these widening moves as creating an epistemological break with the discipline of art history and as presenting a serious and substantial threat, I argue that World Art History can be reconciled with the discipline. World Art History, currently a set of research principles corresponding with notions of networks of connection and exchange, signals a paradigm shift within the discipline of art history: by shifting parts of the discipline away from national histo…
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/73391
note: FROM NATIONS TO NETWORKS: AN ANALYSIS OF NORTH AMERICAN WORLD ART HISTORICAL DISCOURSE DURING THE TRANSCULTURAL TURN, AND THE RISE OF THE MUSEUM AS AGENT by NATHALIE N. HAGER B.A., High Honours in Art History, Carleton University, 1997 M.A., Canadian Art History, Carleton University, 2000 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE COLLEGE OF GRADUATE STUDIES (Interdisciplinary Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) February 2020 © Nathalie N. Hager 2020ii The following individuals certify that they have read, and recommend to the College of Graduate Studies for acceptance, a thesis/dissertation entitled: FROM NATIONS TO NETWORKS: AN ANALYSIS OF NORTH AMERICAN WORLD ART HISTORICAL DISCOURSE DURING THE TRANSCULTURAL TURN, AND THE RISE OF THE MUSEUM AS AGENT submitted by Nathalie N. Hager in partial fulfillment of the requirements of the degree of Doctor of Philosophy Dr. Hussein Keshani Supervisor Dr. Robert Belton Supervisory Committee Member Dr. Suzanne Gott Supervisory Committee Member Dr. Jessica Stites Mor University Examiner Dr. Claire Farago External Examiner Additional Committee Members include: Carolyn MacHardy Supervisory Committee Member Dr. Franciso Peña Supervisory Committee Member iii Abstract This dissertation offers an analysis of the emergent English-language discourse of World Art History in North America during the transcultural turn in art history. It inquiries into what World Art History is by examining how the proposal for World Art History is impacting twenty-first century North American art historical theory and scholarship, and assesses the relevance of World Art Historical discourse for scholars of global contemporary art. With a targeted focus on the museum as a site leading in the development of World Art Historical research principles—including an original Canadian case study examining the National Gallery of Canada’s biennial exhibition series—it also a…
has type: Thesis/Dissertation
date issued: 2020-02
is shown at: 10.14288/1.0388440
language: eng
degree discipline: Interdisciplinary Studies
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: Attribution-NonCommercial-NoDerivatives 4.0 International
rights URI: http://creativecommons.org/licenses/by-nc-nd/4.0/
scholar level: Graduate
type: Text
identifier URI: http://hdl.handle.net/2429/73391