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 This book explores the intersections between wearable
objects and human health, with particular emphasis on how artists
and designers are creatively responding to and rethinking these
relations. Addressing a rich range of wearable artefacts, from
mobility aids and prosthetics to clothing and accessories to
digital health tracking devices, its themes include care and cure;
wellness culture and the commoditization of health; and the complex
interactions between (human) bodies and (non-human)
objects. With a theoretical framework inspired by the work of
materialist thinkers including Sherry Turkle, Bruno Latour and Jane
Bennett, and bringing the disciplinary fields of fashion studies,
art and design practice, and medical and health humanities into
dialogue for the first time, this volume draws attention to the
complex agencies entangled in the things we wear, and situates
fashion and art in relation to broader cultural and historical
contexts of health, illness and disability. Â
AIDS & Representation explores portraits and self-portraits
made in response to the AIDS epidemic in America in the 1980s and
1990s. Addressing the work of artists including Mark Morrisroe,
Robert Blanchon and Felix Gonzalez-Torres through the interrelated
themes of sickness and mortality, desire and sexual identity, love
and loss, Fiona Johnstone shows how the self-representational
practices of artists with HIV and AIDS offered a richly imaginative
response to the limitations of early AIDS imagery. Johnstone argues
that the AIDS epidemic changed the very nature of visual
representation and artistic practice, necessitating a radical new
approach to conceptualising and visualising the human form. An
extended epilogue considers the ongoing art historicization of the
epidemic, re-contextualising the book's themes in relation to
contemporary photographic works. More than just a historical
discussion of the art of the AIDS crisis, AIDS and Representation
contributes to an emergent body of scholarship on the visual
representation of illness. Expanding the established genre of the
autopathography or illness narrative beyond the predominantly
textual, this important contribution to art history and health
humanities sensitively unpicks the entanglements between aesthetic
form and the expression of lived experiences of critical and
chronic ill health.
The portrait has historically been understood as an artistic
representation of a human subject. Its purpose was to provide a
visual or psychological likenesses or an expression of personal,
familial or social identity; it was typically associated with the
privileged individual subject of Western modernity. Recent
scholarship in the humanities and social sciences however has
responded to the complex nature of twenty-first century
subjectivity and proffered fresh conceptual models and theories to
analyse it. The contributors to Anti-Portraiture examine
subjectivity via a range of media including sculpture, photography
and installation, and make a convincing case for an expanded
definition of portraiture. By offering a timely reappraisal of the
terms through which this genre is approached, the chapter authors
volunteer new paradigms in which to consider selfhood, embodiment
and representation. In doing so they further this exciting academic
debate and challenge the curatorial practices and acquisition
policies of museums and galleries.
The portrait has historically been understood as an artistic
representation of a human subject. Its purpose was to provide a
visual or psychological likenesses or an expression of personal,
familial or social identity; it was typically associated with the
privileged individual subject of Western modernity. Recent
scholarship in the humanities and social sciences however has
responded to the complex nature of twenty-first century
subjectivity and proffered fresh conceptual models and theories to
analyse it. The contributors to Anti-Portraiture examine
subjectivity via a range of media including sculpture, photography
and installation, and make a convincing case for an expanded
definition of portraiture. By offering a timely reappraisal of the
terms through which this genre is approached, the chapter authors
volunteer new paradigms in which to consider selfhood, embodiment
and representation. In doing so they further this exciting academic
debate and challenge the curatorial practices and acquisition
policies of museums and galleries.
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