|
Showing 1 - 7 of
7 matches in All Departments
Known for her expansive multidisciplinary approach to art making
Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has
investigated notions of Indigenous identity, beauty, gender and the
body, as well as broader social and political issues through a
practice which encompasses photography, film, video and
performance. Rooted in contemporary art strategies, her practice
critiques the representations of Indigenous people that circulate
in art, literature and popular culture in general. In doing so,
Claxton regularly combines Lakota traditions with “Western”
influences, using a powerful and emotive “mix, meld and mash”
approach to address the oppressive legacies of colonialism and to
articulate Indigenous world views, histories and spirituality. This
timely catalogue will be the first monograph to examine the full
breadth and scope of Claxton’s practice. It will be extensively
illustrated and will include essays by Claxton’s colleague Jaleh
Mansoor, Associate Professor in the Department of Art History,
Visual Art & Theory at the University of British Columbia;
Monika Kin Gagnon, Professor in the Communications Department at
Concordia University, who has followed Claxton’s work for 25
years; Olivia Michiko Gagnon, a New York–based scholar and
doctoral student in Performance Studies; and Grant Arnold, Audain
Curator of British Columbia Art at the Vancouver Art Gallery.
Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero
Manzoni, Jaleh Mansoor demonstrates and reveals how abstract
painting, especially the monochrome, broke with fascist-associated
futurism and functioned as an index of social transition in postwar
Italy. Mansoor refuses to read the singularly striking formal and
procedural violence of Fontana's slit canvasses, Burri's burnt and
exploded plastics, and Manzoni's "achromes" as metaphors of
traumatic memories of World War II. Rather, she locates the
motivation for this violence in the history of the medium of
painting and in the economic history of postwar Italy.
Reconfiguring the relationship between politics and aesthetics,
Mansoor illuminates how the monochrome's reemergence reflected
Fontana, Burri, and Manzoni's aesthetic and political critique of
the Marshall Plan's economic warfare and growing American hegemony.
It also anticipated the struggles in Italy's factories, classrooms,
and streets that gave rise to Autonomia in the 1960s. Marshall Plan
Modernism refigures our understanding of modernist painting as a
project about labor and the geopolitics of postwar reconstruction
during the Italian Miracle.
Focusing on artwork by Lucio Fontana, Alberto Burri, and Piero
Manzoni, Jaleh Mansoor demonstrates and reveals how abstract
painting, especially the monochrome, broke with fascist-associated
futurism and functioned as an index of social transition in postwar
Italy. Mansoor refuses to read the singularly striking formal and
procedural violence of Fontana's slit canvasses, Burri's burnt and
exploded plastics, and Manzoni's "achromes" as metaphors of
traumatic memories of World War II. Rather, she locates the
motivation for this violence in the history of the medium of
painting and in the economic history of postwar Italy.
Reconfiguring the relationship between politics and aesthetics,
Mansoor illuminates how the monochrome's reemergence reflected
Fontana, Burri, and Manzoni's aesthetic and political critique of
the Marshall Plan's economic warfare and growing American hegemony.
It also anticipated the struggles in Italy's factories, classrooms,
and streets that gave rise to Autonomia in the 1960s. Marshall Plan
Modernism refigures our understanding of modernist painting as a
project about labor and the geopolitics of postwar reconstruction
during the Italian Miracle.
"Communities of Sense" argues for a new understanding of the
relation between politics and aesthetics in today's globalized and
image-saturated world. Established and emerging scholars of art and
culture draw on Jacques Ranciere's theorization of democratic
politics to suggest that aesthetics, traditionally defined as the
"science of the sensible," is not a depoliticized discourse or
theory of art, but instead part of a historically specific
organization of social roles and communality. Rather than
formulating aesthetics as the Other to politics, the contributors
show that aesthetics and politics are mutually implicated in the
construction of communities of visibility and sensation through
which political orders emerge.
The first of the collection's three sections explicitly examines
the links between aesthetics and social and political experience.
Here a new essay by Ranciere posits art as a key site where
disagreement can be staged in order to produce new communities of
sense. In the second section, contributors investigate how sense
was constructed in the past by the European avant-garde and how it
is mobilized in today's global visual and political culture.
Exploring the viability of various models of artistic and political
critique in the context of globalization, the authors of the essays
in the volume's final section suggest a shift from identity
politics and preconstituted collectivities toward processes of
identification and disidentification. Topics discussed in the
volume vary from digital architecture to a makeshift museum in a
Paris suburb, and from romantic art theory in the wake of Hegel to
the history of the group-subject in political art and performance
since 1968. An interview with etienne Balibar rounds out the
collection.
"Contributors." Emily Apter, etienne Balibar, Carlos Basualdo,
T. J. Demos, Rachel Haidu, Beth Hinderliter, David Joselit, William
Kaizen, Ranjanna Khanna, Reinaldo Laddaga, Vered Maimon, Jaleh
Mansoor, Reinhold Martin, Seth McCormick, Yates McKee, Alexander
Potts, Jacques Ranciere, Toni Ross
|
Torkwase Dyson: A Liquid Belonging
Torkwase Dyson; Interview by Christina Sharpe; Text written by Dionne Brand, LeRonn P. Brooks, Saidiya Hartman, …
|
R1,396
Discovery Miles 13 960
|
Ships in 12 - 17 working days
|
|
|