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Despite the wide interest in material culture, art, and aesthetics,
few studies have considered them in light of the importance of the
social imagination - the complex ways in which we conceptualize our
social surroundings. This collection engages the "material turn" in
the arts, humanities, and social sciences through a range of
original contributions on creativity in diverse global and
contemporary social settings. The authors engage with everyday
objects, art, rituals, and ethnographic exhibitions to analyze the
relationship between material culture and the social imagination.
What results is a better understanding of how the material embodies
and influences our idea of the social world.
Despite the wide interest in material culture, art, and aesthetics,
few studies have considered them in light of the importance of the
social imagination - the complex ways in which we conceptualize our
social surroundings. This collection engages the "material turn" in
the arts, humanities, and social sciences through a range of
original contributions on creativity in diverse global and
contemporary social settings. The authors engage with everyday
objects, art, rituals, and ethnographic exhibitions to analyze the
relationship between material culture and the social imagination.
What results is a better understanding of how the material embodies
and influences our idea of the social world.
'Timed out' is a pioneering study of modern and contemporary art in
the aftermath of empire. It addresses the current 'global turn' in
the study of art by way of the transnational Caribbean, offering an
in-depth account of the Atlantic world in relation to the
mainstream history of art. It looks at why art of the Anglophone
Caribbean and its diaspora have been placed not only 'outside' but
'behind' the dominant art canons, and how the politics of space and
time can be used to rethink the global geography of art. This is an
essential addition to the growing field of 'world art studies',
bringing concerns around temporality together with cross-cultural
issues and debates. It shows how art and artists of the Caribbean
have encountered and challenged the charges of belatedness,
anachronism, provincialism and marginalisation that are fundamental
to the time-space logic of art history. -- .
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.
This collection explores the creative responses of artists to the
legacies of war, colonialism, genocide and oppression. Based on a
major project of international collaboration supported by the
European Science Foundation, it brings together professional art
practices, art history and visual culture studies, social
anthropology, literary studies, history, museology and cultural
policy studies. Case studies are drawn from diverse contexts,
including South Africa, Germany, Namibia, the United Kingdom,
Nigeria, Indonesia, the Netherlands, Poland, Norway, the
Israeli-Palestinian conflict and Australia. The results reveal a
courageous and carefully examined global picture, with a variety of
new approaches to confronting dominant historical narratives and
shaping alternative interpretations. -- .
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