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How to See a Work of Art in Total Darkness (Paperback)
Loot Price: R1,632
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How to See a Work of Art in Total Darkness (Paperback)
Series: The MIT Press
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Going beyond the 'blackness' of black art to examine the
integrative and interdisciplinary practices of Kara Walker, Fred
Wilson, Isaac Julien, Glenn Ligon, and William Pope.L-five
contemporary black artists in whose work race plays anything but a
defining role. Work by black artists today is almost uniformly
understood in terms of its "blackness," with audiences often
expecting or requiring it to "represent" the race. In How to See a
Work of Art in Total Darkness, Darby English shows how severely
such expectations limit the scope of our knowledge about this work
and how different it looks when approached on its own terms.
Refusing to grant racial blackness-his metaphorical "total
darkness"-primacy over his subjects' other concerns and contexts,
he brings to light problems and possibilities that arise when
questions of artistic priority and freedom come into contact, or
even conflict, with those of cultural obligation. English examines
the integrative and interdisciplinary strategies of five
contemporary artists-Kara Walker, Fred Wilson, Isaac Julien, Glenn
Ligon, and William Pope.L-stressing the ways in which this work at
once reflects and alters our view of its informing context: the
advent of postmodernity in late twentieth-century American art and
culture. The necessity for "black art" comes both from antiblack
racism and resistances to it, from both segregation and efforts to
imagine an autonomous domain of black culture. Yet to judge by the
work of many contemporary practitioners, English writes, black art
is increasingly less able-and black artists less willing-to
maintain its standing as a realm apart. Through close examinations
of Walker's controversial silhouettes' insubordinate reply to
pictorial tradition, Wilson's and Julien's distinct approaches to
institutional critique, Ligon's text paintings' struggle with
modernisms, and Pope.L's vexing performance interventions, English
grounds his contention that to understand this work is to displace
race from its central location in our interpretation and to grant
right of way to the work's historical, cultural, and aesthetic
specificity.
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