{"title":"Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence","authors":"Elizabeth Tan","doi":"10.1093/oxartj/kcaa008","DOIUrl":"https://doi.org/10.1093/oxartj/kcaa008","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/oxartj/kcaa008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48730570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mouth Work: Writing the Voice of the Mother Tongue in the Art of Theresa Hak Kyung Cha","authors":"Kimberly Lamm","doi":"10.1093/oxartj/kcaa011","DOIUrl":"https://doi.org/10.1093/oxartj/kcaa011","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44267004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
These are the words that open the film All that’s solid melts into air (Karl Marx), a film made by Vong Phaophanit (b. 1961, Savannakhet, Laos) with text by Claire Oboussier (b. 1963, London) in 2006. The anecdote is recounted in the Lao language and is foregrounded only as sound: the voice of the artist. No visual imagery is shown, only a black screen with Englishlanguage subtitles. For those who do not understand Lao, the words are slowly processed as sonic textures, as vocal rhythms. Through their translation, the words engender a relationship between storyteller and listener, speaking of speech and describing the sound of song. Lured
{"title":"Toward a Horizon of Un-Knowing: Voice, Aurality, and the Politics of Identification in the Art of Vong Phaophanit and Claire Oboussier","authors":"Pamela Corey","doi":"10.1093/oxartj/kcaa006","DOIUrl":"https://doi.org/10.1093/oxartj/kcaa006","url":null,"abstract":"These are the words that open the film All that’s solid melts into air (Karl Marx), a film made by Vong Phaophanit (b. 1961, Savannakhet, Laos) with text by Claire Oboussier (b. 1963, London) in 2006. The anecdote is recounted in the Lao language and is foregrounded only as sound: the voice of the artist. No visual imagery is shown, only a black screen with Englishlanguage subtitles. For those who do not understand Lao, the words are slowly processed as sonic textures, as vocal rhythms. Through their translation, the words engender a relationship between storyteller and listener, speaking of speech and describing the sound of song. Lured","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/oxartj/kcaa006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44846567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Emma Barker is Senior Lecturer in Art History at the Open University. She is the author of Greuze and the Painting of Sentiment (Cambridge University Press, 2005) and has published numerous essays on eighteenth-century French art. She is the editor of Contemporary Cultures of Display (Yale University Press, 1999), Art and Visual Culture 1600-1850: Academy to Avant-Garde (Tate Publishing, 2012) and Art, Commerce and Colonialism 1600-1800 (Manchester University Press, 2017).
{"title":"Notes on Contributors","authors":"","doi":"10.1093/oxartj/kcaa004","DOIUrl":"https://doi.org/10.1093/oxartj/kcaa004","url":null,"abstract":"<span><strong>Emma Barker</strong> is Senior Lecturer in Art History at the Open University. She is the author of <span style=\"font-style:italic;\">Greuze and the Painting of Sentiment</span> (Cambridge University Press, 2005) and has published numerous essays on eighteenth-century French art. She is the editor of <span style=\"font-style:italic;\">Contemporary Cultures of Display</span> (Yale University Press, 1999), <span style=\"font-style:italic;\">Art and Visual Culture 1600-1850: Academy to Avant-Garde</span> (Tate Publishing, 2012) and <span style=\"font-style:italic;\">Art, Commerce and Colonialism 1600-1800</span> (Manchester University Press, 2017).</span>","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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