Museums, Colonial History, and Accountability
The empty pedestal of the statue of Edward Colston in Bristol, the day after protesters felled the statue and rolled it into the harbour. The ground is covered with Black Lives Matter placards. Photo by Caitlin Hobbs.
The aftermath of the death of George Floyd on the 25th May, 2020 has led to inspiring and powerful Black Lives Matter protests across the U.S. and the world. It has opened up conversations about racism throughout every discipline- the art world and museums included. Some museums and art institutions were quick to post on their social media pages black squares of solidarity or statements, often vague, regarding their wish to change. Some have said nothing, a deafening silence.
In the U.K., attention has been brought to the statues inhabiting our streets. During a Black Lives Matter protest in Bristol, the statue of slave trader Edward Colston was torn down and thrown into a river. This was an impactful event, one that led to many other statues of questionable figures being vandalised. The conversation has become heated, with many in support of the removal of such statues, but also a large proportion in favour of keeping them up. A common argument heard is “We can’t erase history” or that “We need these statues to educate us on the U.K.’s history.” While it is true that we cannot erase history, these arguments are flawed. The removal of a statue does not automatically equate to the removal or erasure of history. These statues were built to commemorate and memorialise those they depict. By removing them, we are not erasing history, but rather ending a form of veneration of figures that have no place in modern society.
It has also been argued that these statues should remain because of the good done by their real-life counterparts, such as Colston’s financing of the development of Bristol. Yet, once again, this can be questioned, because how can we balance the good of developing a city with the trading of human lives in order to finance that city? We must act and converse with empathy, because the suggestion that a statue of a slave trader should remain due to his financial contributions to our country is an insult to those who have suffered and are still suffering as a result of his actions. We cannot change our history, but we can change which aspects we choose to celebrate. When it comes to the question of education, there is no doubt that it is vital, particularly the education on Britain’s colonial past. However, the existence of statues of slave traders is surely not the most effective form of education.
This education about Britain’s history of imperialism and colonialism needs to begin in our schools- to a much more honest and thorough degree than it is currently- so that the “educational” aspect of these colonial statues is not arguable. It is assumed that the majority of these statues will end up in museums when they come down. When this does happen, conversations around how best to display them are sure to arise. It might be more appropriate that they remain in storage for researchers and academics to make appointments to see (as is the case with many objects in museum storage). However, if they are to be displayed in museums for the public, a serious effort must be made in order to display and interpret them. It will not be enough simply to display them in the corner with a small label, but rather a full and comprehensive narrative will need to be presented. It needs to be honest, and must not shy away from the more uncomfortable parts of the history behind the statues, as well as the people represented by them. If this is not done, it would appear futile to have these statues removed in the first place.
The issue here appears to be how we present our country’s history, in our statues, in our schools, and in our museums and art institutions. It is too often the case that the negative side of Britain’s history is glossed over, particularly when it comes to colonialism and the atrocities that accompanied involvement in the slave trade. As a result of recent conversations, many petitions have begun to address this issue and many others surrounding race and imperialism within the school curriculum (there are many on change.org, and via The Black Cirriculum). However, this is also something that needs more attention in museums.
Many museums and art galleries in the U.K. have connections to colonialism, whether that is through their founders, how they acquired some of their objects and artifacts, or how they were financed. Regardless of what level of connection they have to Britain’s colonial past, this history needs to be addressed in depth. Vague social media statements in response to the Black Lives Matter movement about how they recognise their institutions’ past and hope to change going forward is simply not enough. Even those institutions that have outlined plans and initiatives need to do more. It is necessary for these organizations to fully own up to their histories connected to colonialism, and to do everything they can to educate their visitors on these histories. It will be uncomfortable, and may even call into question the legitimacy of certain objects in collections, but it is needed all the same. Art and museum audiences are becoming more and more aware of these issues, and the current conversations prompted by the Black Lives Matter movement will only increase this. A complete overhaul of how the narrative of our colonial history is presented in museums and art institutions is essential, and these evolving and growing audiences will hold institutions accountable if they fall short of this.
In order for this overhaul of how our colonial history is presented, the narrative will need to be re-evaluated in every aspect of museums and galleries. This needs to include the curating process, which subjects are chosen for exhibitions, how objects are interpreted, public programming, and events. A large but important undertaking would be to review every object or artifact in an institution’s collection to determine how they can be interpreted with more transparency. Many works across collections in the U.K. depict images of white supremacy and privilege. Therefore, determining how appropriate these works are for display is also a vital step in order to combat racism and make museums and galleries safe spaces of learning and engagement.
Museums and galleries are in a unique position because they are spaces in which people go for entertainment, but also to learn new things and expand world views. Therefore, this needs to be reflected in what is being displayed and who is being represented. More effort needs to be made to acquire and commission works from Black artists and other underrepresented groups. More effort also must be made to expand the range of subjects whose stories are being told. Additionally, more effort needs to be made to significantly diversify the museum and art experience. There are some programmes and projects currently in place in museums and art institutions attempting this diversification, but the progress they achieve is extremely slow. Museums and art institutions need to be held accountable by their own audiences and the conversation surrounding these issues must not stop.
Sarah McDermott Brown is a graduate of the University of Birmingham with a BA degree in History of Art and a MA degree in History of Art and Curating.