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Vickie Chan

< Previously in Part 1
John Batten – Critic
Based in Hong Kong, John Batten is convenor of the Heritage and Urban Planning Advocacy Group, the Central & Western Concern Group; organiser of Hong Kong ArtWalk and president of the International Association of Art Critics Hong Kong (AICAHK). He is an independent art curator, cultural commentator and art critic and is a regular contributor to the South China Morning Post and Perspective magazine.

Why do you think art history remains an important topic in today’s world?
For artists it is very important to know the history of art and how they individually fit into a continuum. They must understand that they are part of a greater history than the one that they are doing in their own individual studio.
A sense of place and time is understood by knowing the development of art. For the public, art in all its forms (music, photography, design, film, etc) must also be understood in a similar way: as part of a greater history of human cultural development. We are just a small part of that, but over time that small part – if it is significant – will add to a greater understanding of [art's] history.
How can the general public, society and the art world benefit from studying and understanding the history of art?
When questioned about bothering to promote art, music, books, newspapers etc, which did not contribute directly to the war effort, Winston Churchill supposedly said: "But that is what we are fighting for!"
He was absolutely right: If you take away culture in all its forms, including an appreciation of art and art history, then what is left? We all benefit, though often indirectly, from art.
Is art history academically becoming an extinct subject?
The pragmatic world is taking over! All liberal arts subjects are important because they allow freedom of inquiry and thought. That is vital if a society is to develop. To think is more important than academic attainment. Two of the most influential men of the last 30 years, Bill Gates and Steve Jobs, had no academic qualifications – but were great thinkers.
What does art history mean to you as a critic?
To hopefully not be boring, but engage in vigorous enquiry about the visual arts – to give an opinion and to stimulate a holistic discussion of an artist's or art movement's work. How does their art fit into today's society, politics and the culture of now? This is slightly different from an art historian, who generally looks back into art's history. I think as a critic, I look forward.
 
Doryun Chong – Curator

Photo: Laurence Leung, SCMP
Doryun Chong is the chief curator for M+, the new museum of visual culture in the West Kowloon Cultural District. Prior to that, Chong was the Associate Curator of Painting and Sculpture at The Museum of Modern Art (MoMA) in New York and at the Walker Art Center in Minneapolis between 2003 and 2009. As well as a career in curating, Chong is a contributing editor for ArtAsiaPacific and serves on the editorial board of Art Journal.
Why do you think art history remains important as a topic in today’s world?
According to President Obama, art history remains an important topic today. You may have heard that he recently got a lot of flak from the community of art historians for saying in a speech that one is better off pursuing technical training than studying art history. But he apologised later, and even said that art history was one of his favourite subjects at school.
But seriously, art history is a discipline that enriches and cultivates a sense of history, while honing capacities for visual memory, and analysis and appreciation for material culture and heritage. So of course, it is still important in today’s world because these are values and qualities that continue to be important.
How can the general public, society and the art world benefit from studying and understanding the history of art?
Pictures tell a thousand stories and objects contain as many memories. Living in a time oversaturated with images and commodities, the general public and society can learn through art history, a way to better discern and comprehend the continued importance of pictures and objects in our thinking and living. And if you’re in the business of producing, presenting, critiquing and selling and buying art, knowing your art history is not only helpful but a requirement.
Is it important in the world of curating to have a background in art history?
Yes, of course. But I am not dogmatic about official, academic art history training for curators. Some of the most imaginative and talented curators I’ve met don’t have an advanced degree in art history, but what makes their work exemplary and inspiring is curiosity or ingenuity in their thinking.
How can the subject be kept relevant and alive?
Being a discipline focused on visual imagery, art history is perhaps more affected than many other disciplines by the internet. Images are increasingly accessible but also uncontrollable. It is perhaps much easier to study art history, thanks to the internet, than just a decade or two ago, but at the same time, there is a greatly increased risk of misrepresentation and misinformation. I think this new reality of images will keep art history relevant and alive; rather, I’d like to think that the new reality has already reinvented and reinvigorated art history.


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Based in Hong Kong, John Batten is convenor of the Heritage and Urban Planning Advocacy Group, the Central & Western Concern Group; organiser of Hong Kong ArtWalk and president of...
