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Published to accompany an exhibition at MK Gallery, this is the
first major survey of the work of contemporary British artist and
photographer Ingrid Pollard, nominated for the Turner Prize 2022.
This publication provides the first overview of works by British
artist and photographer Ingrid Pollard. Pollard is renowned for
using portrait and landscape photography to question our
relationship with the natural world and to interrogate social
constructs such as Britishness, race, sexuality and identity.
Working across a variety of techniques from photography,
printmaking, drawing and installation to artists' books, video and
audio, Pollard combines meticulous research and experimental
processes to make art that is at once deeply personal and socially
resonant. 'Ingrid Pollard's practice has long been focused on the
human body, astro-physics and geology, and in particular geology in
the formation of the stars and planets. The title of this
publication - Carbon Slowly Turning - invites us to reflect on
geological time in relation to human time. On the one hand, the
millennia in which carbon, rock and other natural materials are
made, and on the other, the brevity of human existence by
comparison and the affecting nature of geology on the human form. A
number of Pollard's works reflect on the cyclical nature of history
and human experience, where everything is subject to change,
sometimes over hundreds or thousands of years, at other times in
the blink of an eye.' - Gilane Tawadros, Curator, writer and CEO,
DACS 'Ingrid Pollard's work slows down our looking to create space
to consider alternative formations of history and landscape. Across
four decades she has re-scripted Britishness, looking back in order
that we might move forward differently. This is a profound and
timely exploration of this vital British artist.' - Maria Balshaw,
Director, Tate This book accompanies an exhibition at MK Gallery
and Turner Contemporary, curated by Gilane Tawadros, with the
artist, and supported by the Freelands Award 2020. Edited by Fay
Blanchard and Anthony Spira. Essays by Anna Arabindan-Kesson,
Cheryl Finley, Paul Gilroy, Mason Leaver-Yap and Gilane Tawadros.
In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a
commodity central to the slave trade and colonialism, as a focus
for new interpretations of the way art, commerce, and colonialism
were intertwined in the nineteenth-century Atlantic world. In doing
so, Arabindan-Kesson models an art historical approach that makes
the histories of the Black diaspora central to nineteenth-century
cultural production. She traces the emergence of a speculative
vision that informs perceptions of Blackness in which artistic
renderings of cotton-as both commodity and material-became
inexorably tied to the monetary value of Black bodies. From the
production and representation of "negro cloth"-the textile worn by
enslaved plantation workers-to depictions of Black sharecroppers in
photographs and paintings, Arabindan-Kesson demonstrates that
visuality was the mechanism through which Blackness and cotton
became equated as resources for extraction. In addition to
interrogating the work of nineteenth-century artists, she engages
with contemporary artists such as Hank Willis Thomas, Lubaina
Himid, and Yinka Shonibare CBE RA, who contend with the commercial
and imperial processes shaping constructions of Blackness and
meanings of labor.
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Sutapa Biswas: Lumen (Paperback)
Amy Tobin; Text written by Anna Arabindan Kesson, Sutapa Biswas, Alina Khakoo, Courtney J. Martin, …
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R497
Discovery Miles 4 970
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Ships in 12 - 17 working days
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Lumen, a survey of the four-decade career of British-Indian artist
Sutapa Biswas, accompanies two solo exhibitions of the artist's
work held in 2021-22. Biswas emigrated from India to the UK with
her family in the 1960s. Taking the long histories of colonialism
together with personal memories, Biswas's art meditates on
questions of migration, identity and belonging. Her practice has
consistently interrogated Western tradition and discourse, pushing
past absences, exclusions and limited representations to make
evident the entwined histories of culture and politics. This
publication details Biswas's career from its origins in the Black
Arts Movement in the 1980s to her important photographic
installations of the 1990s and her subsequent major moving-image
works, including her newly commissioned film Lumen. The first
substantial publication on the artist in over 17 years, it features
two new conversations with the artist and two commissioned essays.
It also includes a republication of Griselda Pollock's important
text on Biswas's work, along with a postface reflecting on their
relationship in the decades since the essay's original publication.
Published on the occasion of the exhibition: Sutapa Biswas: Lumen
BALTIC Centre for Contemporary Art, Gateshead (26 June 2021-22
March 2022) and Kettle's Yard, University of Cambridge (16 October
2021-30 January 2022).
In Black Bodies, White Gold Anna Arabindan-Kesson uses cotton, a
commodity central to the slave trade and colonialism, as a focus
for new interpretations of the way art, commerce, and colonialism
were intertwined in the nineteenth-century Atlantic world. In doing
so, Arabindan-Kesson models an art historical approach that makes
the histories of the Black diaspora central to nineteenth-century
cultural production. She traces the emergence of a speculative
vision that informs perceptions of Blackness in which artistic
renderings of cotton-as both commodity and material-became
inexorably tied to the monetary value of Black bodies. From the
production and representation of "negro cloth"-the textile worn by
enslaved plantation workers-to depictions of Black sharecroppers in
photographs and paintings, Arabindan-Kesson demonstrates that
visuality was the mechanism through which Blackness and cotton
became equated as resources for extraction. In addition to
interrogating the work of nineteenth-century artists, she engages
with contemporary artists such as Hank Willis Thomas, Lubaina
Himid, and Yinka Shonibare CBE RA, who contend with the commercial
and imperial processes shaping constructions of Blackness and
meanings of labor.
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Intermedia, Volume 6 (Paperback)
Ursula Frohne, Rachael Delue; Contributions by Anna Arabindan Kesson, Eva Ehninger, Maggie Cao, …
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R707
Discovery Miles 7 070
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Ships in 9 - 15 working days
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The history of innovative intermedia art practices in America.
 In 1965, American artist and Fluxus cofounder Dick Higgins
stated that much of the best art being made at the time fell
between media. He linked the dismantling of divisions among media
to decompartmentalization in society and the impending dawn of a
“classless” society. After high art, he wrote, came the deluge
brought on by Marcel Duchamp’s ready-mades, Robert
Rauschenberg’s combines, and Alan Kaprow’s happenings.
Intermedia, the term Higgins selected to describe this trend,
referred to works of art that fuse different, often nontraditional,
media. In intermedia, boundaries between mediums dissolve and new
mediums emerge. Never a prescriptive term, intermedia remains
fluid, both as an artistic practice and an art historical category.
 The essays in this volume consider a range of subjects from
nineteenth- and twentieth-century American art and visual culture,
exploring instances of intermedia within specific cultural, social,
and historical contexts and in relation to theories of media,
image-making, and materiality. They present a rich account of
American artistic practice as an open system of medial
interrelation and exchange, highlighting experimental
cross-pollinations and mutations among artistic forms. Â
A wide-ranging study of Louisiana landscape painting that places
art from the region into a broader national and global context With
its dense forests and swamps, Louisiana captured the imagination of
writers and painters who viewed its landscape as a fascinating,
untamed wilderness. Starting in the 1820s when French emigres
brought the Barbizon school to New Orleans, the state attracted
artists from Europe, Latin America, the Caribbean, and the greater
United States who shared ideas and experimented with approaches to
the enigmatic scenery. Although Louisiana was in many ways an
artists' paradise, the land also bore the scars of colonialism and
the forced migrations of slavery. Inventing Acadia explores this
complex history, following the rise of Louisiana landscape art and
situating it amid the cultural shifts of the 19th century. The
authors engage not only with artworks but also with the issues that
informed them-representations of race and industry, international
trade, and climate change. These issues are then carried into the
present with a look at the work of contemporary artist Regina Agu.
Inventing Acadia establishes Louisiana's role in creating a new
vision for American art and highlights the continued relevance of
landscape and representation. Distributed for the New Orleans
Museum of Art Exhibition Schedule: New Orleans Museum of Art
(November 16, 2019-January 26, 2020)
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