The issue is moot: Decolonizing art/artifact

This article seeks to step back from the long-standing debate between art and artifact—aesthetics and science-- understood as terms that reference central concerns of the quintessentially modern Western disciplines of art history and anthropology. In their landmark edited volume The Traffic in Culture: Refiguring Art and Anthropology, George Marcus and Fred Myers explored the growing convergences exhibited by the concerns and methods of practitioners of the two disciplines, both in the academy and the museum. By training our attention on contemporary artworlds—understood as systems-- they illuminated the exchanges of aesthetic and conceptual ideas and forms that have brought Western and non-Western arts into shared discursive and real spaces. Yet in the quarter century since the book’s publication there has been a noticeable retreat from attempts by the proponents of visual studies and an expanded visual anthropology to actualize disciplinary convergences. The boundaries that separate art and anthropology have not been dissolved. Art historians and anthropologists continue to ask different questions and to support different regimes of value. From the author’s vantage point in a settler society currently directing considerable energies to institutional projects of decolonization the old debates have rapidly been receding as a new ‘third term’ – Indigenous Studies-- intrudes itself on the well trodden terrain. Not (yet) definable as a discipline but, rather, maintaining itself as an orientation, Indigenous Studies nevertheless renders the earlier disciplinary debates moot. Place, rather than time-based, collective rather than individual, holistic rather than either disciplinary or interdisciplinary, Indigenous Studies formulations exert decolonizing pressures on institutions that are rapidly mounting. Using Anishinaabeg: Art and Power, a show in 2017 at the Royal Ontario Museum (ROM), as a case study, this article shows how an exhibition moved representation away from the art/artifact dichotomy as well as from contested strategies of ‘inclusion’ and pro forma recognitions of ‘Indigenous ontology’ toward a genuine paradigm shift.