If we want to decolonize the history of art, argues Kristopher Kersey, we must rethink our approach to the historical record. This means dispensing with Eurocentric binaries—divisions between
Western
and
non-Western
,
modern
premodern
—and making a commitment to artworks that challenge the perspectives we build upon them. In
Facing Images
, the question takes elegant and intriguing form: If the aesthetic hallmarks of “modernity” can be found in twelfth-century art, what does it really mean to be “modern”?
Kersey’s answer to this question models a new historiography.
begins by tracing the turbulent discourse surrounding the emergence of Japanese art history as a modern field. In lieu of examining canonical works from the twelfth century, Kersey
foregrounds the elusive and the enigmatic in artworks little known and understudied outside Japan; the manuscripts he selects defy traditional art-historical narratives by exhibiting decidedly modern techniques, including montage, self-reference, reuse, noise, dissonance, and chronological disarray. Kersey weaves these medieval case studies together with insights from a wide range of interdisciplinary scholarship, using a methodology that will prove important for historians:
produces a history of non-Western art in which diverse and anachronic works are brought responsibly and equitably into dialogue with the present, without being subsumed under Eurocentric formalisms or false universals.
A timely intervention in the history of medieval Japanese art, art historiography, and the history of global modernism,
redefines the relationship of the “premodern” non-West to “modern” art. It will be of particular interest to scholars of medieval Japanese art and of modernism.