This volume calls attention to the unexpected prevalence of
ventriloqual motifs and strategies within contemporary art.
Engaging with issues of voice, embodiment, power, and projection,
the case studies assembled in this volume span a range of media
from painting, sculpture, and photography to installation,
performance, architecture, and video. Importantly, they both
examine and enact ventriloqual practices, and do so as a means of
interrogating and performatively bearing out contemporary
conceptions of authorship, subjectivity, and performance. Put
otherwise, the chapters in this book oscillate elegantly between
art history, theory, and criticism through both analytical and
performative means. In speaking about ventriloquism in contemporary
art, the authors, who are curators, historians, and artists, shine
light on this outdated practice, repositioning it as a conspicuous
and meaningful trend within a range of artistic practices today.
This book will be of interest to scholars working in art history,
contemporary art, media studies, performance, museum/curatorial
studies, and theater.
General
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