Despite frustrated attempts to cohesively arrange the experiences accumulated over five weeks traveling through Western Europe, the most accurate term I have found to describe the trip as a series of arrivals. What makes arrival a compelling notion is that it hangs between anticipations and navigation, marking the crossing of a threshold, a liminal moment. Anticipation and experience meet in the moment of arrival, demanding compromise, negotiation, and careful recalibrations in order to determine the next steps. Arrival hovers between journey and destination, marking a moment of recognition when something familiar or sought-after comes into view. Entryways, gates, triumphal arches and marquees call attention to the moment of arrival in alternately ceremonious and mundane ways.
Sammlung Boros, Berlin, Germany. Mary Thomas, 2015.
Throughout my movements afforded by plane, rail, subway, tram, ferry, taxi, bike, and foot, the most gratifying experience was the mere act of arriving at a selected destination, regardless of the ease or difficulty of the journey. I began to consider these small victories against a broader set of symbolic arrivals that took shape, becoming increasingly prominent throughout the trip and the subsequent months following its conclusion.
Subway Platform, Hanover, Germany. Mary Thomas, 2015.
The fellowship, however, names me as an art historian, marking my own arrival and a moment of recognition within the discipline. The premise of the fellowship is to spend time abroad viewing art unrelated to my dissertation research. Enthusiastic recommendations from colleagues and friends, combined with a desire to feel confident navigating an unfamiliar landscape independently shaped my decision to visit several major European cities throughout the course of the trip. Because the fellowship’s function is to expand the recipients’ breadth of knowledge, the trip felt reminiscent of the Grand Tour: a rite of passage initially designed for wealthy young British men during the 17th and 18th centuries to travel to major cultural centers in Europe to acquire a more cosmopolitan sensibility. Although the itinerary I developed bore little resemblance to its predecessor, I felt uneasy that the underlying premise of my itinerary revealed an internalized bias that elevated European culture. As a result, it was at times reassuring when I encountered a resistance within myself when attempting to consider an artwork or exhibition. The process of articulating a nameless intellectual friction into a coherent objection was at times as gratifying as those in which I found myself profoundly moved by an artwork or an architectural space.
Grotto by Niki de Sainte Phalle, Herrenhauser Gardens, Germany. Mary Thomas, 2015.
After spending five weeks traveling and another several months mulling over catalogues, brochures, and photographs fastidiously collected, it has occurred to me that the challenge in discussing this trip with friends and colleagues was rooted in the difficulty in naming its function. Unable to recognize it as an arrival preempted my ability to make sense of the documentation that I relied on to speak for what I gathered (both materially and intellectually) from my travels. What I gathered in each country that I visited was a distinct sense of art’s accessibility and a broad investment in its function as a tool for public engagement that does not have a parallel in the United States. While traveling, I spoke with art historians, artists, musicians, baristas, and bartenders who resided in the cities I visited, and inevitably, art entered all of our conversations. These individuals, while appreciative of comparably extensive funding offered for artistic initiatives, expressed skepticism over the quality of the work it produced, and a reluctance to give voice to criticisms in public forums. As a result, the moment of arrival this trip represents has grown more complex, opening out into questions regarding the role of art in public life in the United States as well as the problems inherent in a return to expanded funding for the arts. Most significantly, I am curious about what these conditions imply for public face of art history and the role of art historians as interlocutors for a broader audience.