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Taryn Simon: The Innocents (Hardcover)
Taryn Simon; Text written by Nicole R Fleetwood, Peter Neufeld, Tyra Patterson, Barry C Scheck
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R2,692
R2,191
Discovery Miles 21 910
Save R501 (19%)
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Winner of the National Book Critics Circle Award A Smithsonian Book
of the Year A New York Review of Books "Best of 2020" Selection A
New York Times Best Art Book of the Year An Art Newspaper Book of
the Year A powerful document of the inner lives and creative
visions of men and women rendered invisible by America's prison
system. More than two million people are currently behind bars in
the United States. Incarceration not only separates the imprisoned
from their families and communities; it also exposes them to
shocking levels of deprivation and abuse and subjects them to the
arbitrary cruelties of the criminal justice system. Yet, as Nicole
Fleetwood reveals, America's prisons are filled with art. Despite
the isolation and degradation they experience, the incarcerated are
driven to assert their humanity in the face of a system that
dehumanizes them. Based on interviews with currently and formerly
incarcerated artists, prison visits, and the author's own family
experiences with the penal system, Marking Time shows how the
imprisoned turn ordinary objects into elaborate works of art.
Working with meager supplies and in the harshest
conditions-including solitary confinement-these artists find ways
to resist the brutality and depravity that prisons engender. The
impact of their art, Fleetwood observes, can be felt far beyond
prison walls. Their bold works, many of which are being published
for the first time in this volume, have opened new possibilities in
American art. As the movement to transform the country's criminal
justice system grows, art provides the imprisoned with a political
voice. Their works testify to the economic and racial injustices
that underpin American punishment and offer a new vision of freedom
for the twenty-first century.
What meaning does the American public attach to images involving
key black political, social, and cultural figures? At a time when
photography has become a primary means of documenting historical
progress, what is the representational currency that these images
carry? How do racial icons circulate and acquire meaning within the
broader public? The answers to these questions will change the way
you think about the next photograph that you see depicting a racial
event or black celebrity or public figure. On Racial Icons looks at
visual culture and race in the United States, in particular the
significance of photography to document black public life. It
examines America's fascination with representing and seeing race in
a myriad of contexts as emblematic of national and racial progress
at best, or as a gauge of a collective racial wound. Investigating
the concept of the icon in the context of photographic history,
national and cultural histories, and racial relations, Nicole
Fleetwood focuses a sustained lens on how racial icons circulate
and acquire meaning within the broader public. Concise in length,
On Racial Icons offers readers a quick overview of the uses of
photography to capture shifting race relations. Each chapter
spotlights a different set of iconic images and sector of American
public life. Throughout, Fleetwood guides readers through several
familiar and iconic photographs and asks them to consider revealing
examples, including the historical weight and racialised violence
associated with images of Trayvon Martin and Emmett Till; the
political, aesthetic, and cultural shifts marked by the rise of
such black pop stars as Diana Ross in the early 1970s; and the
power and precarity of such black sports icons as Serena Williams
and LeBron James.
In 2001 Renee Cox's "Yo Mama's Last Supper" was exhibited at the
Brooklyn Museum. Cox's photographic recreation of Leonardo da
Vinci's painting features an almost all black cast and the artist,
nude, standing in for Jesus. The intense controversy that erupted
testifies to the enduring power of images of black bodies to
unsettle and disturb viewers. Over the course of the twentieth
century, as black visibility rose across a variety of media,
scholars in art history and media studies began to analyze how
audiences view black subjects, while performance and theater
studies scholars examined black self-presentation. "Troubling
Vision" bridges the gap between these divergent approaches, arguing
that grasping the cultural meaning of blackness relies on
understanding both performance and vision. Taking into account this
fixation on black visibility, Nicole R. Fleetwood explores how
blackness is always a troubling presence in the field of vision and
the black body is persistently seen as a problem. Fleetwood
examines a wide range of materials from visual and media art,
documentary photography, theater and performance, fashion
advertising, and celebrity culture. Based on her trenchant analysis
of this work, Fleetwood investigates the various ways black
cultural producers disrupt dominant notions of black identity and
the black body.
In 2001 Renee Cox's "Yo Mama's Last Supper" was exhibited at the
Brooklyn Museum. Cox's photographic recreation of Leonardo da
Vinci's painting features an almost all black cast and the artist,
nude, standing in for Jesus. The intense controversy that erupted
testifies to the enduring power of images of black bodies to
unsettle and disturb viewers. Over the course of the twentieth
century, as black visibility rose across a variety of media,
scholars in art history and media studies began to analyze how
audiences view black subjects, while performance and theater
studies scholars examined black self-presentation. "Troubling
Vision" bridges the gap between these divergent approaches, arguing
that grasping the cultural meaning of blackness relies on
understanding both performance and vision. Taking into account this
fixation on black visibility, Nicole R. Fleetwood explores how
blackness is always a troubling presence in the field of vision and
the black body is persistently seen as a problem. Fleetwood
examines a wide range of materials from visual and media art,
documentary photography, theater and performance, fashion
advertising, and celebrity culture. Based on her trenchant analysis
of this work, Fleetwood investigates the various ways black
cultural producers disrupt dominant notions of black identity and
the black body.
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