Pub Date : 2023-01-02DOI: 10.1080/10464883.2023.2165838
V. McEwen, C. García
Jennifer Newsom and Tom Carruthers are partners in work and life who founded Dream The Combine in Minneapolis, MN in 2013. They are now based between there and Ithaca, NY. Their work consists of site-specific installations that probe the section of an image. They aim to complicate regimes of visuality through methods that introduce perceptual uncertainty in embodied experience, and manipulate the boundary between real and illusory space. Dream The Combine are winners of the 2022–2023 Rome Prize in Architecture, the 2022 United States Artists Fellowship in Architecture and Design, the 2021 McKnight Fellowship for Visual Artists, the 2020–2021 J. Irwin and Xenia S. Miller Prize, the 2018 Young Architects Program at MoMA PS1, the 2018 Art Omi Architecture Residency, and the 2017 FSP/Jerome Foundation Fellowship. Dream The Combine are also part of the curatorial ensemble for the 2023 Counterpublic Triennial in St. Louis, MO.
Jennifer Newsom和Tom Carruthers是工作和生活方面的合作伙伴，他们于2013年在明尼苏达州明尼阿波利斯创立了Dream The Combine。他们现在驻扎在那里和纽约伊萨卡之间。他们的工作包括探测图像部分的特定地点装置。他们的目的是通过在具体体验中引入感知的不确定性，并操纵真实空间和虚幻空间之间的边界，使视觉系统复杂化。Dream The Combine获得了2022–2023年罗马建筑奖、2022年美国建筑与设计艺术家奖学金、2021年McKnight视觉艺术家奖学金、2020–2021年J.Irwin和Xenia S.Miller奖、2018年MoMA PS1青年建筑师项目、2018年Art Omi建筑住宅和2017年FSP/Jerome基金会奖学金。Dream The Combine也是密苏里州圣路易斯2023年反公众三年展策展团的一部分。
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Pub Date : 2023-01-02DOI: 10.1080/10464883.2023.2165810
Thabisile Griffin
In the eighteenth century, an African-Indigenous population in the Caribbean effectively prevented large-scale European enclosure on their island. Termed the “Black Caribs” within British primary documents, they retained control over St. Vincent, refusing to let the fate of the island succumb to systems of enslavement and plantocracies of the colonial imagination. Their refusal to accept defeat, even to this day, offers a generative view on what reparations must prioritize as a form of collective repair. Land and autonomy have endured as the guiding objectives for this Black Indigenous population, providing potential blueprints for the days ahead.
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Pub Date : 2023-01-02DOI: 10.1080/10464883.2023.2165841
V. McEwen
Tina Campt is the Roger S. Berlind ‘52 Professor of Humanities at Princeton University. She holds a joint appointment between the Department of Art and Archeology and the Lewis Center for the Arts. She is a founding researcher of Black European studies, as well as the lead convenor of the Practicing Refusal Collective and the Sojourner Project. Campt has published five books—Other Germans: Black Germans and the Politics of Race, Gender and Memory in the Third Reich (2004); Image Matters: Archive, Photography and the African Diaspora in Europe (2012); Listening to Images (2017); Imagining Everyday Life: Engagements with Vernacular Photography (with Marianne Hirsch, Gil Hochberg, and Brian Wallis, 2020), and A Black Gaze: Artists Changing How We See (2021). Campt was also recipient of the 2020 Photography Catalogue of the Year Award from Paris Photo and Aperture Foundation.
蒂娜·坎普特是普林斯顿大学52届罗杰·s·柏林人文学科教授。她是艺术与考古系和刘易斯艺术中心的联合研究员。她是黑人欧洲研究的创始研究员，也是实践拒绝集体和旅居者项目的主要召集人。坎普特出版了五本书:《其他德国人:第三帝国的德国黑人与种族、性别和记忆政治》(2004年);影像重要:档案、摄影与散居欧洲的非洲人(2012);聆听影像(2017);想象日常生活:与本土摄影的接触(与Marianne Hirsch, Gil Hochberg和Brian Wallis合作，2020年)，以及黑色凝视:艺术家改变我们的观看方式(2021年)。Campt还获得了巴黎摄影和光圈基金会颁发的2020年年度摄影目录奖。
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Pub Date : 2022-07-03DOI: 10.1080/10464883.2022.2097532
Parker Sutton
The reduction of landscape maintenance and the abrupt suspension of human activity during the COVID-19 lockdown in 2020 produced an ecological moment now referred to as the “anthropause.” Absent human intervention, nature quickly asserted its autonomy and confirmed what we already know: there is an inverse relationship between the degree of human involvement in the landscape and ecological health. In light of these events, this essay calls for a shift in the way that we maintain landscapes, grade their appearance, and define productivity. It promotes maintenance as a necessary tool of design and introduces a curriculum for an aesthetics of care.
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Pub Date : 2022-07-03DOI: 10.1080/10464883.2022.2097520
Tania Gutiérrez-Monroy
This paper studies the transformation of urban architecture into a vehicle for Indigenous resistance. Focusing on the (re)appropriation of institutional spaces, my case study is the former seat of the Instituto Nacional de los Pueblos Indígenas, arguably part of the apparatus of assimilation of the Mexican nation-state. On October 12, 2020, the Indigenous Otomí Community CdMx took over the building and renamed it Casa de los Pueblos y Comunidades Indígenas (Yä nghü yä jhöy) Samir Flores Soberanes. Supported by Indigenous collectives across Mexico, the community transformed this architecture into a vessel for amplifying the message of Indigenous resistance against assimilation.
本文研究的是将城市建筑转变为土著抵抗的载体。我的案例研究集中在对制度空间的（重新）占用上，是墨西哥民族国家同化机构的前所在地。2020年10月12日，土著Otomí社区CdMx接管了这座建筑，并将其更名为Casa de los Pueblos y Comunidades Indígenas（yänghüyäjhöy）Samir Flores Soberanes。在墨西哥各地土著集体的支持下，该社区将这座建筑改造成了一个容器，用来放大土著抵抗同化的信息。
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Pub Date : 2022-07-03DOI: 10.1080/10464883.2022.2097544
Peggy Deamer
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Pub Date : 2022-07-03DOI: 10.1080/10464883.2022.2097517
A. Morshed
Teaching architectural history with a commitment to social justice presents an epistemological challenge for two key reasons. First, the spatialization of social justice is irredeemably political, raising the question as to how to discuss politics in the classroom. Second, how does an educator articulate an ethical framework within which to situate histories of injustice and exclusion in the realm of knowledge production? By analyzing diverse public reactions to the controversial Emancipation Memorial (also known as the Freedman’s Memorial) in Lincoln Park on Capitol Hill, Washington, DC during the social justice movements of 2020, this paper examines the politics of social justice through an exploration of the notion of “invisibility,” a paradoxical condition that, as African American novelist Ralph Ellison suggests, can imply both a fantasy of empowerment and a tragedy of powerlessness. The Freedman’s Memorial was erected in 1876 to commemorate United States President Abraham Lincoln’s Emancipation Proclamation of 1863, which many American textbooks credit with “freeing the slaves.” Set on a high pedestal, the monument depicts Lincoln as a towering savior and the unshackled man kneeling in front of him. Though sculptor Thomas Ball modeled the kneeling man after the formerly enslaved man Archer Alexander, the monument denies Alexander’s personal history and his traumatic escape to freedom. It is Lincoln’s heroism, and not that of formerly enslaved people like Alexander, that is disseminated through an entrenched web of hegemonic cultural consent. How does an educator discuss Alexander’s invisibility in the context of this memorial to deepen the understanding of racial ideologies undergirding the institution of slavery in America? The paper argues that microhistory can serve as a powerful historiographic antidote to the dehumanizing effects of invisibility.
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