Four Steps to Confronting Orientalist Approaches in the Museum
Perhaps one of the most glaring examples of orientalism and otherization in Western art museums is the omittance of nuance, detail, and breadth in exhibitions featuring objects, art, and ideas originating from non-Western cultures. Much of this stems from orientalism. When grand art galleries have curated exhibitions with varying degrees of complexity and specificities all around European art, but just one section set aside for an exhibit that checks off the DEAI box, it is obvious that museums not only have a problem with orientalism, but that their attempts to grow beyond the confines of an imperialist and orientalist past are weak. Here are some ways for art and history museums to confront orientalist approaches when curating exhibitions and galleries on non-Western art.
1. Understand how using broad terms erases difference
Using broad terms to denote art from specific categories can cause confusion and erasure rather than inclusion. For example, many art museums have galleries of “Islamic Art,” where art from various 14-16th century Muslim empires is highlighted. However, “Islamic Art” as a category is a form of orientalism. Lumping all of Southwest Asia, North Africa, and South Asia together as “Islamic” repeats orientalist tropes. And, using the term “South Asia” when the entirety of the collection from that part of the world actually stems from just one country in South Asia (usually India) also erases the diversity that exists in South Asia. The same is true when we say “East Asian” or “African” collections when the majority of objects within are, say, from China or Egypt.
2. Embrace inclusivity rather than exclusivity
Art museums are often seen as exclusive. This is rooted in imperialism, racism, and orientalism. In order to enact change and make museums more inclusive, there must be a reckoning with who is excluded and who is included. Give marginalized people opportunities to work in museum and art gallery spaces, increase their pay, and embrace resistance to what your institution stands for. Create space for Black, Indigenous, and artists of color to let their unique perspectives shine. Accept that there will be discomfort and resistance, but that in the long-term, it is in service of creating art museums and galleries that are wholly inclusive. We cannot enact any change without this forcible reckoning.
3. Create a task force to address structural inequities
Having diverse perspectives in a task force is a great option to confront inequalities. By hiring (and compensating) individuals whose work revolves around addressing structural inequalities, museums showcase that they are taking a step forward. A task force could implement a variety of actions, from reviewing labels and other interpretive materials to thinking of new ways to display collections. Allowing a dedicated group of individuals the power to make changes in a museum’s approach is a great step forward. This leads to the next step.
4. Incorporate a storytelling approach
Storytelling is a powerful tool that can create deeper connections for visitors. In particular, oral history is a significant methodology of many non-Western cultural groups. Through storytelling, museums can offer an alternative to the standard approach of showing objects behind glass. By incorporating a story to uncover the breadth of an object, a cultural artifact, or a person, visitors can make profound connections. Museums, as they face intense cultural shifts that question the idea of a museum itself, must adapt to incorporate the questions and critiques levied at them. Embracing alternative approaches is a great way to do this.
It’s important to note that this is not an exhaustive list, but merely a few suggestions. With these steps, and others, museums can start the process of reckoning with orientalism and racism present in their collections.
