{"title":"The Documentary Photo-Poetics of C. D. Wright and Deborah Luster","authors":"Claire Grandy","doi":"10.3368/cl.60.2.253","DOIUrl":null,"url":null,"abstract":"n a 2001 interview, the late poet C. D. Wright described the premise of her collaborative project with photographer Deborah Luster, One Big Self: Prisoners of Louisiana, in flat rejection of aesthetic autonomy: “The popular perception is that art is apart. I insist it is a part of. Something not in dispute is that people in prison are apart from” (“Looking”). Alongside Luster, Wright formally stages a reading practice that discomfits the disinterested gaze. By forcing an imbrication (a part of) between what is usually kept apart, they mobilize a failure of incorporation, an inability to touch or see clearly, as an ethics of non-relation. This is not to resituate an allure of the ineffable within aesthetic experience, but rather to insist that art cannot be read apart from its often mystified methods of production and circulation. The titular “one big self” signifies this complex work of perpetual inclusion of politics, economics, and environment into the apartness of art object and human subject.1","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"60 1","pages":"253 - 281"},"PeriodicalIF":0.1000,"publicationDate":"2020-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"CONTEMPORARY LITERATURE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3368/cl.60.2.253","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
引用次数: 0
Abstract
n a 2001 interview, the late poet C. D. Wright described the premise of her collaborative project with photographer Deborah Luster, One Big Self: Prisoners of Louisiana, in flat rejection of aesthetic autonomy: “The popular perception is that art is apart. I insist it is a part of. Something not in dispute is that people in prison are apart from” (“Looking”). Alongside Luster, Wright formally stages a reading practice that discomfits the disinterested gaze. By forcing an imbrication (a part of) between what is usually kept apart, they mobilize a failure of incorporation, an inability to touch or see clearly, as an ethics of non-relation. This is not to resituate an allure of the ineffable within aesthetic experience, but rather to insist that art cannot be read apart from its often mystified methods of production and circulation. The titular “one big self” signifies this complex work of perpetual inclusion of politics, economics, and environment into the apartness of art object and human subject.1
在2001年的一次采访中，已故诗人c·d·赖特(C. D. Wright)描述了她与摄影师黛博拉·Luster合作项目《一个大自我:路易斯安那州的囚犯》(One Big Self: Prisoners of Louisiana)的前提，直截了当地拒绝审美自主性:“普遍的看法是，艺术是分开的。我坚持认为这是。毫无争议的是，监狱里的人是分开的(“看”)。与Luster一起，Wright正式开展了一种阅读实践，使无私的目光感到不安。通过在通常分开的东西之间强行混合(一部分)，他们调动了融合的失败，无法触摸或清楚地看到，作为一种不相关的伦理。这并不是要恢复美学经验中不可言喻的魅力，而是要坚持艺术不能脱离其经常被神秘化的生产和流通方法来阅读。名义上的“大我”象征着这一复杂的作品，它将政治、经济和环境永久地融合到艺术对象和人类主体的分离中
期刊介绍：
Contemporary Literature publishes scholarly essays on contemporary writing in English, interviews with established and emerging authors, and reviews of recent critical books in the field. The journal welcomes articles on multiple genres, including poetry, the novel, drama, creative nonfiction, new media and digital literature, and graphic narrative. CL published the first articles on Thomas Pynchon and Susan Howe and the first interviews with Margaret Drabble and Don DeLillo; we also helped to introduce Kazuo Ishiguro, Eavan Boland, and J.M. Coetzee to American readers. As a forum for discussing issues animating the range of contemporary literary studies, CL features the full diversity of critical practices.
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