Phenomenal Difference grants new attention to contemporary black
British art, exploring its critical and social significance through
attention to embodied experience, affectivity, the senses and
perception. Featuring attention to works by the following artists:
Said Adrus, Zarina Bhimji, Sonia Boyce, Vanley Burke, Chila Burman,
Mona Hatoum, Bhajan Hunjan, Permindar Kaur, Sonia Khurana, Juginder
Lamba, Manjeet Lamba, Hew Locke, Yeu-Lai Mo, Henna Nadeem, Kori
Newkirk, Johannes Phokela, Keith Piper, Shanti Thomas, Aubrey
Williams, Mario Ybarra Jr. Much before scholars in the arts and
humanities took their recent 'ontological turn' toward the new
materialism, black British art had begun to expose cultural
criticism's overreliance on the concepts of textuality,
representation, identity and difference. Illuminating that original
field of aesthetics and creativity, this book shows how black
British artworks themselves can become the basis for an engaged and
widely-reaching philosophy. Numerous extended descriptive studies
of artworks spell out the affective and critical relations that
pertain between individual works, their viewers and the world at
hand: intimate, physically-involving and visceral relations that
are brought into being through a wide range of phenomena including
performance, photography, installation, photomontage and digital
practice. Whether they subsist through movement, or in time,
through gesture, or illusion, black British art is always an
arresting nexus of making, feeling and thought. It celebrates
particular philosophical interest in: - the use of art as a place
for remembering the personal or collective past; - the fundamental
'equivalence' of texture and colour, and their instances of
'rupture'; - figural presence, perceptual reversibility and the
agency of objects; - the grounded materialities of mediation; - and
the interconnections between art, politics and emancipation.
Drawing first hand on the founding, historical texts of early and
mid-twentieth century phenomenology (Heidegger; Merleau-Ponty), and
current advances in art history, curating and visual anthropology,
the author transposes black British art into a freshly expanded and
diversified intellectual field. What emerges is a vivid
understanding of phenomenal difference: the profoundly material
processes of interworking philosophical knowledge and political
strategy at the site of black British art.
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