Pub Date : 2022-03-25DOI: 10.1080/21604851.2022.2045789
Kimberly Dark, L. Aphramor
ABSTRACT In this paper we explore the ways in which fat politics shapes (our) fat-thin intimacies as friends, colleagues and occasional lovers. We are queer writers who are actively engaged in fat politics; one of us is fat and the other is thin. We are both poets, scholars, and performers, privileged by whiteness, and contingently read as non-disabled. This paper takes the form of alternating reflections where we explore the nuances of our thoughts and feelings about friendship, romantic involvement, and engagement in learning communities. Specifically, we surface the ways that the various realms of our relationship are co-constituted by fatness, gender, and trauma histories. While we have both had fat and thin lovers before, Kimberly is the first fat, fat- affirming lover Lucy had, and Lucy is the first thin lover Kimberly had who was pre-educated and pre-experienced regarding fat stigma, fat shame, and social bias. We investigate what this shared political grounding made possible through the trust and vulnerability thus enabled. We also consider the erotic as an influence on scholarship which leads to praxis.
{"title":"Fat politics as a constituent of intersecting intimacies","authors":"Kimberly Dark, L. Aphramor","doi":"10.1080/21604851.2022.2045789","DOIUrl":"https://doi.org/10.1080/21604851.2022.2045789","url":null,"abstract":"ABSTRACT In this paper we explore the ways in which fat politics shapes (our) fat-thin intimacies as friends, colleagues and occasional lovers. We are queer writers who are actively engaged in fat politics; one of us is fat and the other is thin. We are both poets, scholars, and performers, privileged by whiteness, and contingently read as non-disabled. This paper takes the form of alternating reflections where we explore the nuances of our thoughts and feelings about friendship, romantic involvement, and engagement in learning communities. Specifically, we surface the ways that the various realms of our relationship are co-constituted by fatness, gender, and trauma histories. While we have both had fat and thin lovers before, Kimberly is the first fat, fat- affirming lover Lucy had, and Lucy is the first thin lover Kimberly had who was pre-educated and pre-experienced regarding fat stigma, fat shame, and social bias. We investigate what this shared political grounding made possible through the trust and vulnerability thus enabled. We also consider the erotic as an influence on scholarship which leads to praxis.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"23 1","pages":"192 - 204"},"PeriodicalIF":1.0,"publicationDate":"2022-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85092397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-14DOI: 10.1080/21604851.2022.2049494
Ross Anderson-Doherty, Alyson Campbell, J. Graffam
ABSTRACT This article examines the genesis, making processes and performance choices of Cake Daddy, a queer and fat-positive live performance work (Belfast, Melbourne, Sydney, 2018–19). The show was made in response to performer-creator Ross Anderson-Doherty’s experience of shock and fatphobia in the audience’s reaction to his naked fat body in a previous production. This experience – and the unpacking of it – proved a catalyst for Anderson-Doherty to respond in the best way he knows: through performance and his own form of queer performance pedagogy. Through a Practice as Research methodology we, who are also members of the Cake Daddy creative team, trace the queer and “fat” dramaturgical choices within the creation and staging of this fat-positive and celebratory production. This includes the hybrid cabaret-theater form of the production, its (at times) conversational/dialogic mode, the visibility and participation of audiences, the virtuosity of Anderson-Doherty’s singing and hosting, the sharing of deeply personal material, the flaunting of fat/ness and fat sexuality onstage and the shared act of committing to a fat-positive community pledge: all of these, we assert, lead to a fat-queer utopian performative moment. Borrowing from queer theory’s move to see queer as a verb, rather than a noun, Anderson-Doherty’s co-option of fat as a verb has brought this forth: Anderson-Doherty “fattens” the space – and in the performance’s final moments he teaches audiences to conjugate that verb together as a temporary community.
{"title":"Baking Cake Daddy: transforming fat-phobia to fat-positivity with a slice of fat-queer subversive fun to fatten the stage","authors":"Ross Anderson-Doherty, Alyson Campbell, J. Graffam","doi":"10.1080/21604851.2022.2049494","DOIUrl":"https://doi.org/10.1080/21604851.2022.2049494","url":null,"abstract":"ABSTRACT This article examines the genesis, making processes and performance choices of Cake Daddy, a queer and fat-positive live performance work (Belfast, Melbourne, Sydney, 2018–19). The show was made in response to performer-creator Ross Anderson-Doherty’s experience of shock and fatphobia in the audience’s reaction to his naked fat body in a previous production. This experience – and the unpacking of it – proved a catalyst for Anderson-Doherty to respond in the best way he knows: through performance and his own form of queer performance pedagogy. Through a Practice as Research methodology we, who are also members of the Cake Daddy creative team, trace the queer and “fat” dramaturgical choices within the creation and staging of this fat-positive and celebratory production. This includes the hybrid cabaret-theater form of the production, its (at times) conversational/dialogic mode, the visibility and participation of audiences, the virtuosity of Anderson-Doherty’s singing and hosting, the sharing of deeply personal material, the flaunting of fat/ness and fat sexuality onstage and the shared act of committing to a fat-positive community pledge: all of these, we assert, lead to a fat-queer utopian performative moment. Borrowing from queer theory’s move to see queer as a verb, rather than a noun, Anderson-Doherty’s co-option of fat as a verb has brought this forth: Anderson-Doherty “fattens” the space – and in the performance’s final moments he teaches audiences to conjugate that verb together as a temporary community.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"45 1","pages":"556 - 571"},"PeriodicalIF":1.0,"publicationDate":"2022-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77390881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-07DOI: 10.1080/21604851.2022.2046329
Jennifer Lee
ABSTRACT It feels transgressive to reveal what I am most scared to reveal, to share stories, vulnerability and sometimes “dirty laundry” in my writing. It can open me up to potential attack. But a few years ago, I realized that it was still safer for me to express my fat activism in written form. I made the decision to move from fat activism driven by writing, to include activism that explores fat embodiment through representation of my body in shibari (Japanese rope) performance, photography and visual art. I am now taking it a step further to reflect on the representation of my fat body in art. In this autoethnographic piece, I find that I have an ability to frame how a story is told, where to expose and reveal my body in ways that challenge what fat bodies are capable of doing, or how they “should” be visually represented, is a more vulnerable position for me as a fat activist. Self-protection and self-preservation would dictate that I keep myself hidden away. Revealing myself and my body, and becoming vulnerable by doing so, takes courage. It means putting aside the instincts of self-protection, to reveal aspects of myself so that others either see themselves reflected in my body, and take strength and courage from that, or are exposed to a representation of a fat body they wouldn’t normally be exposed to. This article includes, and discusses, visual art with my body as the subject, from an Australian artist and two photographers.
{"title":"Removing the armor: art, the fat body and vulnerability","authors":"Jennifer Lee","doi":"10.1080/21604851.2022.2046329","DOIUrl":"https://doi.org/10.1080/21604851.2022.2046329","url":null,"abstract":"ABSTRACT It feels transgressive to reveal what I am most scared to reveal, to share stories, vulnerability and sometimes “dirty laundry” in my writing. It can open me up to potential attack. But a few years ago, I realized that it was still safer for me to express my fat activism in written form. I made the decision to move from fat activism driven by writing, to include activism that explores fat embodiment through representation of my body in shibari (Japanese rope) performance, photography and visual art. I am now taking it a step further to reflect on the representation of my fat body in art. In this autoethnographic piece, I find that I have an ability to frame how a story is told, where to expose and reveal my body in ways that challenge what fat bodies are capable of doing, or how they “should” be visually represented, is a more vulnerable position for me as a fat activist. Self-protection and self-preservation would dictate that I keep myself hidden away. Revealing myself and my body, and becoming vulnerable by doing so, takes courage. It means putting aside the instincts of self-protection, to reveal aspects of myself so that others either see themselves reflected in my body, and take strength and courage from that, or are exposed to a representation of a fat body they wouldn’t normally be exposed to. This article includes, and discusses, visual art with my body as the subject, from an Australian artist and two photographers.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"21 1","pages":"527 - 542"},"PeriodicalIF":1.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86871924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-25DOI: 10.1080/21604851.2022.2041829
S. Jones, Cat Pausé
ABSTRACT This article presents The Adipositivity Project, a photo-activism project focused on creating visual resistance to fat oppression. For fifteen years and across three continents, Substantia Jones has captured people of various races, gender presentations, and physical abilities, each displaying as much of their bodies as they feel comfortable. The project rejects anti-fat attitudes, fatpocalyse rhetoric, and diet culture, instead providing a visual diet of images that reveal fat bodies are bodies that are worthy of artistic inspiration. The images of the Adipositivity Project have been displayed in the mainstream media, in galleries, blogs, and more, increasing visibility of fat bodies as an act of fat liberation.
{"title":"The Adipositivity Project: the first fifteen years","authors":"S. Jones, Cat Pausé","doi":"10.1080/21604851.2022.2041829","DOIUrl":"https://doi.org/10.1080/21604851.2022.2041829","url":null,"abstract":"ABSTRACT This article presents The Adipositivity Project, a photo-activism project focused on creating visual resistance to fat oppression. For fifteen years and across three continents, Substantia Jones has captured people of various races, gender presentations, and physical abilities, each displaying as much of their bodies as they feel comfortable. The project rejects anti-fat attitudes, fatpocalyse rhetoric, and diet culture, instead providing a visual diet of images that reveal fat bodies are bodies that are worthy of artistic inspiration. The images of the Adipositivity Project have been displayed in the mainstream media, in galleries, blogs, and more, increasing visibility of fat bodies as an act of fat liberation.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"24 1","pages":"472 - 487"},"PeriodicalIF":1.0,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74656065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-22DOI: 10.1080/21604851.2022.2037256
L. Byers, Heidi M. Williams
ABSTRACT Fatness is often represented in news media as the scary outcome of self-inflicted, unhealthy behavior currently fueling the “obesity epidemic.” Reality television repeats this narrative of “real” fatness by showing “out of control” fatties in search of thin-terventions. This raises the question: how are fat people portrayed in fictional settings? To understand where and how fat bodies are placed on shows, fat kinship, and the evolution of fat characters over time, we conducted textual analyses of five television shows – Gilmore Girls, This is Us, Shrill, Sweet Magnolias and Dietland – over a 20-year period. Our research questions are: During the first two decades of the twenty-first century, do we see a move into fat liberation for fat female characters, or do we see performative body positivity with new and adapting barriers for fat female characters? Do these shows actually challenge power relations, or do fat characters always get disciplined into being the “good fatty”? We found that fat, white women are central – or more visible – in television shows today, compared to when Gilmore Girls first aired in 2000. Indeed, fat women are portrayed as stronger and more successful, occupying diverse spaces and roles; however, their bodies are still hyper-regulated by others. Shrill and Dietland in particular challenge fatphobia and offer moments of fat liberation – but these moments are fleeting and are often tempered by reminders that women still live within a thin-obsessed society. Although media representations of fat women have made progress, more representation, especially intersectional portrayals of diverse fat experiences, are necessary to dismantle fat oppression.
{"title":"Hollywood’s slim pickings for fat characters: A textual analysis of Gilmore Girls, Sweet Magnolias, This is Us, Shrill, and Dietland","authors":"L. Byers, Heidi M. Williams","doi":"10.1080/21604851.2022.2037256","DOIUrl":"https://doi.org/10.1080/21604851.2022.2037256","url":null,"abstract":"ABSTRACT Fatness is often represented in news media as the scary outcome of self-inflicted, unhealthy behavior currently fueling the “obesity epidemic.” Reality television repeats this narrative of “real” fatness by showing “out of control” fatties in search of thin-terventions. This raises the question: how are fat people portrayed in fictional settings? To understand where and how fat bodies are placed on shows, fat kinship, and the evolution of fat characters over time, we conducted textual analyses of five television shows – Gilmore Girls, This is Us, Shrill, Sweet Magnolias and Dietland – over a 20-year period. Our research questions are: During the first two decades of the twenty-first century, do we see a move into fat liberation for fat female characters, or do we see performative body positivity with new and adapting barriers for fat female characters? Do these shows actually challenge power relations, or do fat characters always get disciplined into being the “good fatty”? We found that fat, white women are central – or more visible – in television shows today, compared to when Gilmore Girls first aired in 2000. Indeed, fat women are portrayed as stronger and more successful, occupying diverse spaces and roles; however, their bodies are still hyper-regulated by others. Shrill and Dietland in particular challenge fatphobia and offer moments of fat liberation – but these moments are fleeting and are often tempered by reminders that women still live within a thin-obsessed society. Although media representations of fat women have made progress, more representation, especially intersectional portrayals of diverse fat experiences, are necessary to dismantle fat oppression.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"12 1","pages":"273 - 285"},"PeriodicalIF":1.0,"publicationDate":"2022-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78988710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-21DOI: 10.1080/21604851.2022.2042101
M. Bessey
{"title":"Weight bias in health education: critical perspectives for pedagogy and practice","authors":"M. Bessey","doi":"10.1080/21604851.2022.2042101","DOIUrl":"https://doi.org/10.1080/21604851.2022.2042101","url":null,"abstract":"","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"68 1","pages":"423 - 425"},"PeriodicalIF":1.0,"publicationDate":"2022-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84154756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-17DOI: 10.1080/21604851.2022.2041295
Carolin Kost, K. Jamie
ABSTRACT This article focuses on the development of online fat kinship in the Health at Every Size (HAES) movement. Drawing upon 15 fat women’s experiences of their HAES community membership, we explore the ways that fat kinship develops around fatphobic experiences, and how it can facilitate the mitigation of fat oppression. Building upon the notion of the “knowing community,” we suggest that sharing experiences of, and developing tactics against, medical fatphobia transforms “knowing communities” into “knowing kinships.,” characterized by mutual support and affective relationships. We argue that sharing experiences on egalitarian social networking platforms builds a supportive, safe, and affective kinship network of “knowing” members. Through this online-based kinship network, fat women not only share stories of medical fatphobia but also collaboratively develop tactics of “everyday resistance” against it, including the identification of fat positive healthcare practitioners and the honing of communication strategies to optimize healthcare interactions. These tactics, we suggest, are developed to convey a high degree of “cultural health capital” which undermines assumptions of fat patients as apathetic leaving less space for fatphobic treatment. Although we focus on kinship development in the HAES landscape, we conclude with some reflections on the application of our “knowing kinship” framework to other fat populations.
{"title":"“It has literally been a lifesaver”: the role of “knowing kinship” in supporting fat women to navigate medical fatphobia","authors":"Carolin Kost, K. Jamie","doi":"10.1080/21604851.2022.2041295","DOIUrl":"https://doi.org/10.1080/21604851.2022.2041295","url":null,"abstract":"ABSTRACT This article focuses on the development of online fat kinship in the Health at Every Size (HAES) movement. Drawing upon 15 fat women’s experiences of their HAES community membership, we explore the ways that fat kinship develops around fatphobic experiences, and how it can facilitate the mitigation of fat oppression. Building upon the notion of the “knowing community,” we suggest that sharing experiences of, and developing tactics against, medical fatphobia transforms “knowing communities” into “knowing kinships.,” characterized by mutual support and affective relationships. We argue that sharing experiences on egalitarian social networking platforms builds a supportive, safe, and affective kinship network of “knowing” members. Through this online-based kinship network, fat women not only share stories of medical fatphobia but also collaboratively develop tactics of “everyday resistance” against it, including the identification of fat positive healthcare practitioners and the honing of communication strategies to optimize healthcare interactions. These tactics, we suggest, are developed to convey a high degree of “cultural health capital” which undermines assumptions of fat patients as apathetic leaving less space for fatphobic treatment. Although we focus on kinship development in the HAES landscape, we conclude with some reflections on the application of our “knowing kinship” framework to other fat populations.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"2 1","pages":"311 - 324"},"PeriodicalIF":1.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72730363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-15DOI: 10.1080/21604851.2022.2033395
Magdalena Hutter
ABSTRACT Thinking through the concept of “seeing as touching” as articulated in the work of Laura Marks, Maurice Merleau-Ponty, and queer filmmaker Barbara Hammer, this article uses a research-creation approach involving somatic and visual prompts to explore questions around intimacy, visuality, touch, and distance. Building on the concepts of desirability hierarchies and economies of care, it investigates connections between fatphobia and feelings of desire and disgust, highlighting the complex role that sensations can play in reproducing and reinforcing normative body standards and white supremacist power structures. The article includes still photographs from a video-based exploration of a fat “haptic visuality” and suggests a connection between the generative ambiguity such an approach to making images can allow for and the inherent transgressive potential of fat embodiment.
{"title":"Closer. Fatness, desire, and seeing as touching","authors":"Magdalena Hutter","doi":"10.1080/21604851.2022.2033395","DOIUrl":"https://doi.org/10.1080/21604851.2022.2033395","url":null,"abstract":"ABSTRACT Thinking through the concept of “seeing as touching” as articulated in the work of Laura Marks, Maurice Merleau-Ponty, and queer filmmaker Barbara Hammer, this article uses a research-creation approach involving somatic and visual prompts to explore questions around intimacy, visuality, touch, and distance. Building on the concepts of desirability hierarchies and economies of care, it investigates connections between fatphobia and feelings of desire and disgust, highlighting the complex role that sensations can play in reproducing and reinforcing normative body standards and white supremacist power structures. The article includes still photographs from a video-based exploration of a fat “haptic visuality” and suggests a connection between the generative ambiguity such an approach to making images can allow for and the inherent transgressive potential of fat embodiment.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"64 1","pages":"260 - 272"},"PeriodicalIF":1.0,"publicationDate":"2022-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90412881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1080/21604851.2022.2030521
Lori Don Levan
ABSTRACT Fatness is represented in a myriad of creative ways through the visual arts and visual culture. This special issue of Fat Studies called Representing Fatness through Critical and Artistic Practice offers an opportunity to examine art-making and visual culture through a critical lens. It focuses on articles that discuss a variety of subject matter as it relates to visual culture and artistic practice.
{"title":"Special issue of the fat studies journal representing fatness through critical and artistic practice","authors":"Lori Don Levan","doi":"10.1080/21604851.2022.2030521","DOIUrl":"https://doi.org/10.1080/21604851.2022.2030521","url":null,"abstract":"ABSTRACT Fatness is represented in a myriad of creative ways through the visual arts and visual culture. This special issue of Fat Studies called Representing Fatness through Critical and Artistic Practice offers an opportunity to examine art-making and visual culture through a critical lens. It focuses on articles that discuss a variety of subject matter as it relates to visual culture and artistic practice.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"43 1","pages":"439 - 441"},"PeriodicalIF":1.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90703293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-13DOI: 10.1080/21604851.2022.2037309
Allison Taylor, Allyson Mitchell
ABSTRACT This photo essay is about the process of creating a digital archive dedicated to Pretty Porky and Pissed Off, a Toronto-based fat activist and performance art collective active in the late 1990s and early 2000s. As a leading member of the collective and the project’s principal investigator (Allyson Mitchell) and the project’s researcher archivist (Allison Taylor) we explore the affective potential of the visual archival fat representations produced through Pretty Porky and Pissed Off’s artistic practice. We first provide an overview of the Pretty Porky and Pissed Off archive project. Second, we contextualize our photo essay within queer and fat studies scholarship on affect, archives, and the visual. Third, we present a set of stills from archival video footage of a Pretty Porky and Pissed Off clothing swap in Allyson Mitchell’s art studio. Using these stills, we consider the affectively rich nature of visual archival representations of fatness. We suggest that feelings are a central component of visual archival fat representations; feelings offer important insights about the potential of visual artistic and archival practices to represent, embody, and imagine fatness otherwise.
这篇摄影文章是关于为活跃于20世纪90年代末和21世纪初的多伦多肥胖活动家和行为艺术团体Pretty Porky and Pissed Off创建数字档案的过程。作为集体的领导成员和项目的首席研究员(Allyson Mitchell)和项目的研究档案管理员(Allison Taylor)，我们探索了通过Pretty Porky和Pissed Off的艺术实践产生的视觉档案脂肪表现的情感潜力。我们首先提供了一个概览的漂亮肥猪和愤怒的档案项目。其次，我们将我们的照片文章置于酷儿和肥胖研究的背景下，研究情感、档案和视觉。第三，我们展示了一组来自档案视频片段的剧照，这是在艾莉森·米切尔的艺术工作室里，一个漂亮的胖子和愤怒的衣服交换。使用这些剧照，我们考虑肥胖的视觉档案表现的情感丰富的性质。我们认为感觉是视觉档案脂肪表征的核心组成部分;感受提供了关于视觉艺术和档案实践的潜力的重要见解，以代表，体现和想象肥胖。
{"title":"Feeling ‘Pretty Porky & Pissed Off’: a photo essay on fatness, affect, art, and archives","authors":"Allison Taylor, Allyson Mitchell","doi":"10.1080/21604851.2022.2037309","DOIUrl":"https://doi.org/10.1080/21604851.2022.2037309","url":null,"abstract":"ABSTRACT This photo essay is about the process of creating a digital archive dedicated to Pretty Porky and Pissed Off, a Toronto-based fat activist and performance art collective active in the late 1990s and early 2000s. As a leading member of the collective and the project’s principal investigator (Allyson Mitchell) and the project’s researcher archivist (Allison Taylor) we explore the affective potential of the visual archival fat representations produced through Pretty Porky and Pissed Off’s artistic practice. We first provide an overview of the Pretty Porky and Pissed Off archive project. Second, we contextualize our photo essay within queer and fat studies scholarship on affect, archives, and the visual. Third, we present a set of stills from archival video footage of a Pretty Porky and Pissed Off clothing swap in Allyson Mitchell’s art studio. Using these stills, we consider the affectively rich nature of visual archival representations of fatness. We suggest that feelings are a central component of visual archival fat representations; feelings offer important insights about the potential of visual artistic and archival practices to represent, embody, and imagine fatness otherwise.","PeriodicalId":37967,"journal":{"name":"Fat Studies-An Interdisciplinary Journal of Body Weight and Society","volume":"1 1","pages":"513 - 526"},"PeriodicalIF":1.0,"publicationDate":"2022-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83390303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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