Taken together, the responses to this Colloquium present the individual experiences of nine contributors who personally reflect upon the events of the past year. We hope that their narratives create a rich stage for understanding how such critical issues and questions—many of them long lying in wait, but raised acutely by 2020—intersect.
Edited by Naomi Slipp
The invited essays included in this section offer nuanced readings of artists spanning nearly a century, whose engagement with European art and artistic tradition vary from full-throated adulation to subtle and unspoken resonances.
Considering the era of its making—the decade of the Vietnam War and resistance to it in many national capitals, anti-government protests across the globe, and both nonviolent and armed uprisings against institutional discrimination and social inequity—Mauritius provokes questions about human conflicts, their histories, and their costs.
Long before I met an art historian and long before I trained to become one, I knew that museums were sources and resources and that they were sites of social and cultural capital. I also did not expect museums to connect with me, and I did not care much if they did.
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