Pub Date : 2022-12-01DOI: 10.1177/14704129221139864
G. Annovi
One of the last works by celebrated New York artist David Wojnarowicz is a black-and-white photograph of the artist’s face buried in the dirt. The photograph was staged in 1991, less than one year before the artist died of AIDS. Until now, Wojnarowicz’s photograph has been interpreted as the image of a burial, a reference to the artist’s impending death. This article compares Wojnarowicz’s photo to one of the last scenes of Pier Paolo Pasolini’s Teorema (1968). The case of (Untitled) Face in Dirt and Teorema indicates the existence of a potentially complex relationship between Wojnarowicz and Pasolini, two queer artists who used provocation and sexual transgression to criticize capitalist society through their work. In this article, this complex relationship is explored to show, on the one hand, the import of Pasolini’s cinematographic and literary work in New York’s underground art scene of the 1980s. On the other, it demonstrates that Wojnarowicz’s last work conveys a positive message about his artistic legacy and future.
{"title":"Dirty encounters: Pier Paolo Pasolini’s legacy in David Wojnarowicz’s work","authors":"G. Annovi","doi":"10.1177/14704129221139864","DOIUrl":"https://doi.org/10.1177/14704129221139864","url":null,"abstract":"One of the last works by celebrated New York artist David Wojnarowicz is a black-and-white photograph of the artist’s face buried in the dirt. The photograph was staged in 1991, less than one year before the artist died of AIDS. Until now, Wojnarowicz’s photograph has been interpreted as the image of a burial, a reference to the artist’s impending death. This article compares Wojnarowicz’s photo to one of the last scenes of Pier Paolo Pasolini’s Teorema (1968). The case of (Untitled) Face in Dirt and Teorema indicates the existence of a potentially complex relationship between Wojnarowicz and Pasolini, two queer artists who used provocation and sexual transgression to criticize capitalist society through their work. In this article, this complex relationship is explored to show, on the one hand, the import of Pasolini’s cinematographic and literary work in New York’s underground art scene of the 1980s. On the other, it demonstrates that Wojnarowicz’s last work conveys a positive message about his artistic legacy and future.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"425 - 460"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1177/14704129221142279
Homi K. Bhabha, Jae Emerling
This conversation contains ‘moments’ from a dialogue between the esteemed scholar Homi K Bhabha and Journal of Visual Culture editor Jae Emerling that took place at Harvard University on 7 March 2022. As part of the 20th anniversary celebrations of the journal’s founding, it was essential to include voices whose work, presence within the world, and poetic insights traverse the entirety of visual culture studies. Bhabha is certainly such a voice for our Editorial Collective, past and present. The goal of this open dialogue, if there is a single one, was to have a real conversation about Bhabha’s vital current projects, which address the socio-economic, political, and cultural dangers facing all of us. But it is also a hopeful discussion about the ‘survival’ of the theoretical humanities in the 21st century. We hope that it reads as dialogic-radiating lines passing through the singular points that shape the history of our present, while always remaining open and attentive to the unforeseen actualizations of the past–future events that compose each of us individually and collectively.
这段对话包含了受人尊敬的学者Homi K Bhabha和视觉文化杂志编辑Jae Emerling于2022年3月7日在哈佛大学进行的对话的“时刻”。作为该杂志创刊20周年庆祝活动的一部分，有必要将其作品、在世界上的存在以及贯穿整个视觉文化研究的诗意见解纳入其中。Bhabha无疑是我们编辑部的一个声音，无论是过去还是现在。这次公开对话的目标，如果有一个单一的目标的话，就是对巴巴当前的重要项目进行一次真正的对话，这些项目解决了我们所有人面临的社会经济、政治和文化危险。但这也是一场关于21世纪理论人文学科“生存”的充满希望的讨论。我们希望它读起来像对话辐射线，穿过塑造我们现在历史的奇异点，同时始终保持开放和关注过去-未来事件的不可预见的实现，这些事件构成了我们每个人个人和集体。
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Pub Date : 2022-12-01DOI: 10.1177/14704129221136217
Andrew Weir
Against the universalizing of the Anthropocene, radioactive dust affects specific communities more than others. At the same time, it carries particles from local sites to cosmic horizons. Uranium dust encodes deep timescales of planetary formation and extinction as they intersect with histories of violence and extraction, myth and current politics. This article analyses artwork by Yhonnie Scarce, descendant of the Kokatha and Nukunu peoples of South Australia, arguing for a particulate geo-fiction as method of engagement with colonial politics of deep time. By sampling and literally unearthing nuclear histories, Scarce’s work traces more-than-human toxic ecologies. Through a condensation of uranium-scale temporalities, the present moment of its exhibition is prised open. This becomes a speculative ethical encounter with responsibilities to deep histories and futures beyond itself, the lingering after effects of British colonial violence inscribed into the materiality of the work.
{"title":"Dust against the Anthropocene: Yhonnie Scarce’s nuclear geo-fictions","authors":"Andrew Weir","doi":"10.1177/14704129221136217","DOIUrl":"https://doi.org/10.1177/14704129221136217","url":null,"abstract":"Against the universalizing of the Anthropocene, radioactive dust affects specific communities more than others. At the same time, it carries particles from local sites to cosmic horizons. Uranium dust encodes deep timescales of planetary formation and extinction as they intersect with histories of violence and extraction, myth and current politics. This article analyses artwork by Yhonnie Scarce, descendant of the Kokatha and Nukunu peoples of South Australia, arguing for a particulate geo-fiction as method of engagement with colonial politics of deep time. By sampling and literally unearthing nuclear histories, Scarce’s work traces more-than-human toxic ecologies. Through a condensation of uranium-scale temporalities, the present moment of its exhibition is prised open. This becomes a speculative ethical encounter with responsibilities to deep histories and futures beyond itself, the lingering after effects of British colonial violence inscribed into the materiality of the work.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"495 - 514"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42542940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1177/14704129221141922
Jasmin Ehrhardt, Lisa Nakamura
This article engages with TikToks created by incarcerated people using contraband cellphones. We read the #PrisonTok hashtag as part of a new genre of digital media created by imprisoned people that invites users to learn directly from them about everyday life behind bars, some of which includes producing and consuming digital media and memetic culture through practices of infrastructural fugitivity. TikTok’s affordances permit imprisoned people to share and demystify aspects of their everyday lives such as cooking, charging phones and maintaining digital infrastructure, despite prison rules prohibiting prisoners from owning phones. We discuss viral TikTok users such as Jeron Combs whose cooking videos have attracted millions of viewers, and conclude with an analysis of #PrisonTok’s implications for both media, visual culture and carceral studies. We do this to submit a framework for scholars, as well as free-world people broadly, to engage with illicit digital media created by imprisoned people.
{"title":"Infrastructural fugitivity: contraband cellphones, TikTok, and vital media behind bars","authors":"Jasmin Ehrhardt, Lisa Nakamura","doi":"10.1177/14704129221141922","DOIUrl":"https://doi.org/10.1177/14704129221141922","url":null,"abstract":"This article engages with TikToks created by incarcerated people using contraband cellphones. We read the #PrisonTok hashtag as part of a new genre of digital media created by imprisoned people that invites users to learn directly from them about everyday life behind bars, some of which includes producing and consuming digital media and memetic culture through practices of infrastructural fugitivity. TikTok’s affordances permit imprisoned people to share and demystify aspects of their everyday lives such as cooking, charging phones and maintaining digital infrastructure, despite prison rules prohibiting prisoners from owning phones. We discuss viral TikTok users such as Jeron Combs whose cooking videos have attracted millions of viewers, and conclude with an analysis of #PrisonTok’s implications for both media, visual culture and carceral studies. We do this to submit a framework for scholars, as well as free-world people broadly, to engage with illicit digital media created by imprisoned people.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"390 - 409"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45692275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1177/14704129221142493
Jae Emerling
{"title":"Jae Emerling, Vivre sa vie pour JLG","authors":"Jae Emerling","doi":"10.1177/14704129221142493","DOIUrl":"https://doi.org/10.1177/14704129221142493","url":null,"abstract":"","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"515 - 519"},"PeriodicalIF":1.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42808575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1177/14704129221125769
Kimberly Lamm
For Amelia Jones, performance art reveals the fault lines in dominant cultural orders and brings them to light. She has devoted her formidable energies to tracing these acts of excavation and disclosing how feminist, queer, and anti-racist politics animate them. Two recently published books, In-Between Subjects: A Critical Genealogy of Queer Performance (2021) and Queer Communion: Ron Athey (2020) (co-edited with Andy Campbell) underscore how serious her commitment is. These studies are intimate allies and they illuminate why performance and sexuality have warranted a lifetime of exploration: Jones sees the full liberatory range of erotic life in performance. It allows sexuality to be unpredictably alive and imbued with contingency, not a thing to possess but a process that unfolds by responding deeply to and with others. Creating and modeling the risks of intimate encounters, performance allows the vulnerabilities of marginalized bodies to transform shame and isolation into radically inclusive forms of belonging. Introducing In-Between Subjects, Jones writes that performance allows us to ‘enact’ rather than ‘suppress’ or ‘contain’ the ‘messy, durational, relational, and disorienting aspects of being a person in the world’ (p. 24). Jones’s scholarship shows that performance creates worlds in which such enactments must be fought for but are always possible.
{"title":"Amelia Jones, In-Between Subjects: A Critical Genealogy of Queer Performance Amelia Jones and Andy Campbell (eds), Queer Communion: Ron Athey, reviewed by Kimberly Lamm","authors":"Kimberly Lamm","doi":"10.1177/14704129221125769","DOIUrl":"https://doi.org/10.1177/14704129221125769","url":null,"abstract":"For Amelia Jones, performance art reveals the fault lines in dominant cultural orders and brings them to light. She has devoted her formidable energies to tracing these acts of excavation and disclosing how feminist, queer, and anti-racist politics animate them. Two recently published books, In-Between Subjects: A Critical Genealogy of Queer Performance (2021) and Queer Communion: Ron Athey (2020) (co-edited with Andy Campbell) underscore how serious her commitment is. These studies are intimate allies and they illuminate why performance and sexuality have warranted a lifetime of exploration: Jones sees the full liberatory range of erotic life in performance. It allows sexuality to be unpredictably alive and imbued with contingency, not a thing to possess but a process that unfolds by responding deeply to and with others. Creating and modeling the risks of intimate encounters, performance allows the vulnerabilities of marginalized bodies to transform shame and isolation into radically inclusive forms of belonging. Introducing In-Between Subjects, Jones writes that performance allows us to ‘enact’ rather than ‘suppress’ or ‘contain’ the ‘messy, durational, relational, and disorienting aspects of being a person in the world’ (p. 24). Jones’s scholarship shows that performance creates worlds in which such enactments must be fought for but are always possible.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"382 - 386"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48079025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1177/14704129221125767
Marc R. H. Kosciejew
In Model City Pyongyang, the architects Cristiano Bianchi and Kristina Drapić shed light on this shrouded city by showing sumptuous photographs of its bizarre, yet beautiful, urban landscape. Specifically, Bianchi and Drapić provide a vibrant visual journey through the so-called hermit kingdom’s cryptic capital featuring 200 fanciful illustrations of buildings, structures and streetscapes rarely seen by foreigners. Adopting a photographic rather than textual approach to analysing the city, they explain that they ‘chose to communicate what we saw and the impressions we later digested through our photographs’ (pp. 13–15). By offering this extraordinary visual access to Pyongyang’s severely restricted world, they immerse readers in a seemingly different dimension, one full of elaborate symbolism. Indeed, this unparalleled photographic perspective reveals the extreme and singular ideological design of a city unseen elsewhere.
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Pub Date : 2022-08-01DOI: 10.1177/14704129221112976
Darlène Dubuisson
The circulation and consumption of the images of suffering and lifeless black bodies is a longstanding feature of US visual media. Since each archive of suffering and dead black bodies operates within specific histories, discourses, and affective relationships, this article examines a particular collection of images: the Time magazine photos of the 2010 Haiti earthquake victims. The article argues that the photos evoke the uncanny by using the Haitian zombie motif – an image of ‘monstrous’ black racial difference. The article traces the photos’ elicitation of the uncanny in two ways: one, it highlights how the images produce self/other slippages and thus affirm the uncanny; and two, it examines the insidious and violent ways these slippages dehumanize, dismember, and dispossess those depicted to produce a ‘negative familiarity’ for the non-black observer, thus lending to the banality of antiblack violence. The article ends with a call for ‘radical empathy’ to combat this violence.
{"title":"The Haitian zombie motif: against the banality of antiblack violence","authors":"Darlène Dubuisson","doi":"10.1177/14704129221112976","DOIUrl":"https://doi.org/10.1177/14704129221112976","url":null,"abstract":"The circulation and consumption of the images of suffering and lifeless black bodies is a longstanding feature of US visual media. Since each archive of suffering and dead black bodies operates within specific histories, discourses, and affective relationships, this article examines a particular collection of images: the Time magazine photos of the 2010 Haiti earthquake victims. The article argues that the photos evoke the uncanny by using the Haitian zombie motif – an image of ‘monstrous’ black racial difference. The article traces the photos’ elicitation of the uncanny in two ways: one, it highlights how the images produce self/other slippages and thus affirm the uncanny; and two, it examines the insidious and violent ways these slippages dehumanize, dismember, and dispossess those depicted to produce a ‘negative familiarity’ for the non-black observer, thus lending to the banality of antiblack violence. The article ends with a call for ‘radical empathy’ to combat this violence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"255 - 276"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46266137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1177/14704129221125768
Marissa C. de Baca
Akin to the teardrop that opens Eugenie Brinkema’s first work, The Forms of the Affects (2014), her latest book, Life-Destroying Diagrams, commences with another signifier bound to the body: the neck. Through the neck, Brinkema critiques how established scholarship such as Linda Williams’s (1991) body genres, Noël Carroll’s (1990) aesthetic philosophy of horror, or James Twitchell’s (1985) Dreadful Pleasures has thought through horror exclusively as a bodily affect: the sensations of a shiver or the goosebumps on skin. ‘I am done with the neck’, Brinkema states as her opening salvo against privileging the body and thus limiting affective interpretations of horror (p. 1). Brinkema’s ingenious solution to the body problem – or otherwise, when affective teleology is only thought through the body – is to rethink horror through form. Therefore grids, charts, diagrams, hexagons, lines, circles, or tempo are deployed to activate affective potential. Yet, as the author makes clear, this book is not about horror, but about reading affect from form. Consequently, Life-Destroying Diagrams reinstitutes Brinkema’s theory of radical formalism, which demands ‘a return to the speculative ground or roots of what thinking can claim’ by launching a text’s potential through ‘readings that proceed without guarantee’ (p. 21). What results in Life-Destroying Diagrams is a provocative and commanding intervention into aesthetic theory that can enliven what has already been preconceived within scholarship on horror and within the larger fields of Visual Culture Studies, Literary Studies, Cinema Studies, and Continental Philosophy.
尤金妮·布林克玛（Eugenie Brinkema）的第一部作品《影响的形式》（the Forms of the Affects，2014）以泪珠开场，她的最新著作《毁灭生命的图表》（Life Destroying Diagrams）以另一个绑定在身体上的能指开始：脖子。Brinkema从脖子上批评了诸如Linda Williams（1991年）的身体流派、Noël Carroll（1990年）的恐怖美学哲学或James Twitchell（1985年）的《可怕的快乐》等学术界是如何将恐怖完全视为一种身体影响的：颤抖或皮肤上的鸡皮疙瘩Brinkema表示，“我受够了脖子”，这是她反对对身体的特权化，从而限制对恐怖的情感解读的开场白（第1页）。Brinkema对身体问题的巧妙解决方案——或者说，当情感目的论只通过身体思考时——是通过形式重新思考恐怖。因此，网格、图表、六边形、线条、圆圈或节奏被用来激活情感潜力。然而，正如作者明确指出的那样，这本书不是关于恐怖，而是关于形式的阅读影响。因此，《毁灭生命的图表》重新确立了布林克马的激进形式主义理论，该理论要求通过“无保证的阅读”来激发文本的潜力，从而“回到思维所能声称的推测基础或根源”（第21页）。《毁灭生命图》的结果是对美学理论的挑衅性和命令性干预，它可以活跃恐怖学术界以及视觉文化研究、文学研究、电影研究和大陆哲学等更大领域中已经先入为主的东西。
{"title":"Eugenie Brinkema, Life-Destroying Diagrams, reviewed by Marissa C de Baca","authors":"Marissa C. de Baca","doi":"10.1177/14704129221125768","DOIUrl":"https://doi.org/10.1177/14704129221125768","url":null,"abstract":"Akin to the teardrop that opens Eugenie Brinkema’s first work, The Forms of the Affects (2014), her latest book, Life-Destroying Diagrams, commences with another signifier bound to the body: the neck. Through the neck, Brinkema critiques how established scholarship such as Linda Williams’s (1991) body genres, Noël Carroll’s (1990) aesthetic philosophy of horror, or James Twitchell’s (1985) Dreadful Pleasures has thought through horror exclusively as a bodily affect: the sensations of a shiver or the goosebumps on skin. ‘I am done with the neck’, Brinkema states as her opening salvo against privileging the body and thus limiting affective interpretations of horror (p. 1). Brinkema’s ingenious solution to the body problem – or otherwise, when affective teleology is only thought through the body – is to rethink horror through form. Therefore grids, charts, diagrams, hexagons, lines, circles, or tempo are deployed to activate affective potential. Yet, as the author makes clear, this book is not about horror, but about reading affect from form. Consequently, Life-Destroying Diagrams reinstitutes Brinkema’s theory of radical formalism, which demands ‘a return to the speculative ground or roots of what thinking can claim’ by launching a text’s potential through ‘readings that proceed without guarantee’ (p. 21). What results in Life-Destroying Diagrams is a provocative and commanding intervention into aesthetic theory that can enliven what has already been preconceived within scholarship on horror and within the larger fields of Visual Culture Studies, Literary Studies, Cinema Studies, and Continental Philosophy.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"378 - 381"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44334498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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