Pub Date : 2022-08-01DOI: 10.1177/14704129221123844
Marquis Bey, Kara Carmack, Jill H. Casid, KJ Cerankowski, S. Crasnow, Stamatina Gregory, J. Halberstam, Lex Morgan Lancaster, Cyle Metzger, Kirstin Ringelberg, Cole Rizki, Wiley Sharp, Eliza Steinbock, Susan Stryker
This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visual Cultures. That event was organized to celebrate the recently published themed issue of Journal of Visual Culture on new work in transgender art and visual cultures, guest edited by Cyle Metzger and Kirstin Ringelberg, and suggested for the journal by Jill H Casid. The themed issue emerged from a session run at the College Art Association in New York, 2018, programmed by Metzger and Ringelberg. For the event in November 2021, some of the contributors to the journal’s themed issue (Kara Carmack, Sascha Crasnow, Stamatina Gregory, Cyle Metzger and Kirstin Ringelberg) were joined by interlocutor Jill Casid, and respondent Jack Halberstam to share their thoughts on trans visual culture/s now, and to consider what it is to write trans visual culture, as well as to live in relation to transness. The event happened to fall on Transgender Day of Remembrance. Given the fraught or ambivalent feelings that many have about such a day, the event was also taken as an occasion to talk about ways of untethering trans visibility from what is lethal to trans viability. After the event, the organizers solicited a few additional reflections on concerns that emerged – in particular around matters of the visual, trans visibility, and lived experience. These are brought together to act as a refractive prism for what happens when we center thinking seriously with the implications and potentials of trans art and visual culture for trans hopes and fears, kinship and community, lives and loves. The publication of this Roundtable takes the themed issue as a crucial springboard for critical, transversal trans* imaginings of the variant worlds to be unfolded by undoing the lock of the gender binary and its settler colonial and white supremacist violences, and to further the demand that thinking with trans alters substantially the ways we approach the visual.
本次圆桌会议由2021年11月20日星期六举行的跨视觉文化在线活动精心打造。该活动是为了庆祝最近出版的《视觉文化杂志》关于跨性别艺术和视觉文化新作品的主题期刊，由Cyle Metzger和Kirstin Ringelberg担任客座编辑，Jill H Casid建议为该杂志撰稿。这期主题期刊出现在2018年纽约大学艺术协会的一次会议上，由Metzger和Ringelberg策划。在2021年11月的活动中，该杂志主题期的一些撰稿人（卡拉·卡马克、萨莎·克拉斯诺、斯塔马蒂娜·格雷戈里、赛尔·梅茨格和克尔斯汀·林格尔伯格）与对话者吉尔·卡西德和受访者杰克·哈尔伯斯塔姆一起分享了他们对跨视觉文化的看法，并思考了写跨视觉文化是什么，以及与变性相关的生活。这一事件恰好发生在跨性别纪念日。考虑到许多人对这一天的担忧或矛盾情绪，这次活动也被视为一个讨论如何将跨性别可见性从对跨性别生存能力的致命性中解放出来的机会。活动结束后，组织者就出现的问题征求了一些额外的思考，特别是关于视觉、跨视觉和生活体验的问题。当我们认真思考跨性别艺术和视觉文化对跨性别希望和恐惧、亲属关系和社区、生活和爱情的影响和潜力时，这些因素被结合在一起，成为一个折射棱镜。本次圆桌会议的出版将主题议题作为一个关键的跳板，通过解开性别二元对立及其定居者殖民主义和白人至上主义暴力的锁，展开对不同世界的批判性、横向跨性别想象，并进一步要求跨性别思维大大改变我们对待视觉的方式。
{"title":"Trans visibility and trans viability: a Roundtable","authors":"Marquis Bey, Kara Carmack, Jill H. Casid, KJ Cerankowski, S. Crasnow, Stamatina Gregory, J. Halberstam, Lex Morgan Lancaster, Cyle Metzger, Kirstin Ringelberg, Cole Rizki, Wiley Sharp, Eliza Steinbock, Susan Stryker","doi":"10.1177/14704129221123844","DOIUrl":"https://doi.org/10.1177/14704129221123844","url":null,"abstract":"This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visual Cultures. That event was organized to celebrate the recently published themed issue of Journal of Visual Culture on new work in transgender art and visual cultures, guest edited by Cyle Metzger and Kirstin Ringelberg, and suggested for the journal by Jill H Casid. The themed issue emerged from a session run at the College Art Association in New York, 2018, programmed by Metzger and Ringelberg. For the event in November 2021, some of the contributors to the journal’s themed issue (Kara Carmack, Sascha Crasnow, Stamatina Gregory, Cyle Metzger and Kirstin Ringelberg) were joined by interlocutor Jill Casid, and respondent Jack Halberstam to share their thoughts on trans visual culture/s now, and to consider what it is to write trans visual culture, as well as to live in relation to transness. The event happened to fall on Transgender Day of Remembrance. Given the fraught or ambivalent feelings that many have about such a day, the event was also taken as an occasion to talk about ways of untethering trans visibility from what is lethal to trans viability. After the event, the organizers solicited a few additional reflections on concerns that emerged – in particular around matters of the visual, trans visibility, and lived experience. These are brought together to act as a refractive prism for what happens when we center thinking seriously with the implications and potentials of trans art and visual culture for trans hopes and fears, kinship and community, lives and loves. The publication of this Roundtable takes the themed issue as a crucial springboard for critical, transversal trans* imaginings of the variant worlds to be unfolded by undoing the lock of the gender binary and its settler colonial and white supremacist violences, and to further the demand that thinking with trans alters substantially the ways we approach the visual.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"297 - 320"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47224462","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: 10.1177/14704129221112975
F. Casetti
The Phantasmagoria was not just a spectacle based on projections of images of ghosts and monsters. Relying upon new archival findings, this article claims that the Phantasmagoria was instead an optical–environmental dispositive that combined an enclosed space with the exploration of three worlds: the otherworld of the Dead, the physical world of Nature, and the inner world of spectators’ Interiority. While its ultimate goal was to provide an unconventional map of the three domains that were of the greatest interest at the time, its combined interest in a spatial arrangement and a visual address suggests the need for a new, rhizomatic archaeology in which to include the screen-based dispositives.
{"title":"Rethinking the Phantasmagoria: an enclosure and three worlds","authors":"F. Casetti","doi":"10.1177/14704129221112975","DOIUrl":"https://doi.org/10.1177/14704129221112975","url":null,"abstract":"The Phantasmagoria was not just a spectacle based on projections of images of ghosts and monsters. Relying upon new archival findings, this article claims that the Phantasmagoria was instead an optical–environmental dispositive that combined an enclosed space with the exploration of three worlds: the otherworld of the Dead, the physical world of Nature, and the inner world of spectators’ Interiority. While its ultimate goal was to provide an unconventional map of the three domains that were of the greatest interest at the time, its combined interest in a spatial arrangement and a visual address suggests the need for a new, rhizomatic archaeology in which to include the screen-based dispositives.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"349 - 373"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42503766","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: 10.1177/14704129221112971
Maayan Amir
While chemical attacks are rare and deemed an illegitimate form of warfare, the attempt to exploit international law in order to license military action is an eerily common custom. The practice of deploying a legal system to promote military objectives is now widely known as lawfare. In this article, the author focuses on what she calls visual lawfare, namely the weaponization of visual documentation used to provide evidence in order to either prove compliance, or to demonstrate violations, of international laws of warfare through appeal to a legal forum, in order to facilitate a military objective. Drawing on endeavours to affect the United Nations Security Council resolutions in the context of the Syrian Civil War, in addition to revisiting selected lawfare scholarship while providing the new concept of ‘visual lawfare’ itself, she expands on how visual evidence is employed or produced to sanction the lawful use of violence while citing international codes of conduct.
{"title":"Visual lawfare: evidential imagery at the service of military objectives","authors":"Maayan Amir","doi":"10.1177/14704129221112971","DOIUrl":"https://doi.org/10.1177/14704129221112971","url":null,"abstract":"While chemical attacks are rare and deemed an illegitimate form of warfare, the attempt to exploit international law in order to license military action is an eerily common custom. The practice of deploying a legal system to promote military objectives is now widely known as lawfare. In this article, the author focuses on what she calls visual lawfare, namely the weaponization of visual documentation used to provide evidence in order to either prove compliance, or to demonstrate violations, of international laws of warfare through appeal to a legal forum, in order to facilitate a military objective. Drawing on endeavours to affect the United Nations Security Council resolutions in the context of the Syrian Civil War, in addition to revisiting selected lawfare scholarship while providing the new concept of ‘visual lawfare’ itself, she expands on how visual evidence is employed or produced to sanction the lawful use of violence while citing international codes of conduct.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"321 - 348"},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43579338","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: 10.1177/14704129221112972
Rosalind Galt, Annette-Carina van der Zaag
This article addresses the racializing logic of white feminism and its alignment with white heteronormative registers of human life. It does so by considering Julia Ducournau’s (2017) film Raw in relation to cannibalism’s intersections of gender, sexuality and race. The film invokes feminist pleasures, centring on female desire and pitting Justine’s compulsive appetites against an inflexible social hierarchy of gender and species. However, its articulation of cannibal consumption and female subjectivity is dangerously ambivalent. By focusing on the colonial history and racializing logic of the cannibal, this article reads Raw as symptomatic of the subjective formations and social violence of white feminism. Raw portrays cannibalism as a feminist practice of posthuman resistance, but its seductive appeal also produces a troubling ambivalence around non-white and queer bodies, which resonates with black critiques of posthumanism’s reproduction of whiteness. The film invites us to inhabit our raw desires as a monstrous resistance, but what genres of human and nonhuman haunt this politics of monstrosity?
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Pub Date : 2022-04-01DOI: 10.1177/14704129221124448
Peter Morin
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Pub Date : 2022-04-01DOI: 10.1177/14704129221088300
Jade Nixon, Sefanit Habtom, E. Tuck
In this article, the authors describe their multi-year youth participatory action research project, Making Sense of Movements (MSOM), with Black and Indigenous high school students in Toronto. Youth co-researchers in MSOM designed a study on school pushout that reveals the pervasiveness of racism in schools and the inadequacy of responses to racist incidents by school personnel. School staff and teachers often treat racist incidents as isolated events that can be easily resolved. However, the authors situate Black and Indigenous students’ experiences of racism in their high schools within the ongoing legacies of settlement and slavery. Learning from Black and Indigenous feminist theories of rupture and refusal – see Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997); Simpson’s Mohawk Interruptus: Political Life across the Borders of Settler States (2014); and Tuck and Yang’s ‘Decolonization is not a metaphor’ (2012) – the authors invite readers to reframe the assumed ease and completeness of repair. They theorize racism and antiblackness as a rupture rather than an injury, which has important implications for school policy and how schools address racism. By moving beyond reparative frameworks, the authors engage rupture as a more meaningful starting place.
{"title":"Rupture, not injury: reframing repair for Black and Indigenous youth experiencing school pushout","authors":"Jade Nixon, Sefanit Habtom, E. Tuck","doi":"10.1177/14704129221088300","DOIUrl":"https://doi.org/10.1177/14704129221088300","url":null,"abstract":"In this article, the authors describe their multi-year youth participatory action research project, Making Sense of Movements (MSOM), with Black and Indigenous high school students in Toronto. Youth co-researchers in MSOM designed a study on school pushout that reveals the pervasiveness of racism in schools and the inadequacy of responses to racist incidents by school personnel. School staff and teachers often treat racist incidents as isolated events that can be easily resolved. However, the authors situate Black and Indigenous students’ experiences of racism in their high schools within the ongoing legacies of settlement and slavery. Learning from Black and Indigenous feminist theories of rupture and refusal – see Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997); Simpson’s Mohawk Interruptus: Political Life across the Borders of Settler States (2014); and Tuck and Yang’s ‘Decolonization is not a metaphor’ (2012) – the authors invite readers to reframe the assumed ease and completeness of repair. They theorize racism and antiblackness as a rupture rather than an injury, which has important implications for school policy and how schools address racism. By moving beyond reparative frameworks, the authors engage rupture as a more meaningful starting place.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"132 - 160"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085685","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 : 2022-04-01DOI: 10.1177/14704129221088295
Nataleah Hunter-Young
This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state’s hidden hand – the rig that naturalizes the public’s first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching’s stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair.
{"title":"Transgressive frames","authors":"Nataleah Hunter-Young","doi":"10.1177/14704129221088295","DOIUrl":"https://doi.org/10.1177/14704129221088295","url":null,"abstract":"This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state’s hidden hand – the rig that naturalizes the public’s first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching’s stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"111 - 131"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43396727","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 : 2022-04-01DOI: 10.1177/14704129221088292
K. Strassler
Since the end of authoritarian rule in Indonesia in 1998 and the anti-Chinese violence that attended it, the artist FX Harsono has created a series of works addressing the name as a site of racialized state violence, cultural identity, erasure, recovery, and repair. Through an examination of Harsono’s works, this article asks: How can art put forward a reparative vision in a context of impunity, forgetting, and ongoing discrimination? How do the sonic and visual qualities of ethnic Chinese names register affective claims of resilience and survival against a backdrop of violence and loss? Rather than focus on exposing past harms or demanding redress, Harsono’s artworks render visible the quiet, partial, and persistent repair-work undertaken within the ethnic Chinese community in the aftermath of violence, and use these practices as an idiom for an art of repair addressed to the broader Indonesian community.
{"title":"The art of repair: naming violence in the work of FX Harsono","authors":"K. Strassler","doi":"10.1177/14704129221088292","DOIUrl":"https://doi.org/10.1177/14704129221088292","url":null,"abstract":"Since the end of authoritarian rule in Indonesia in 1998 and the anti-Chinese violence that attended it, the artist FX Harsono has created a series of works addressing the name as a site of racialized state violence, cultural identity, erasure, recovery, and repair. Through an examination of Harsono’s works, this article asks: How can art put forward a reparative vision in a context of impunity, forgetting, and ongoing discrimination? How do the sonic and visual qualities of ethnic Chinese names register affective claims of resilience and survival against a backdrop of violence and loss? Rather than focus on exposing past harms or demanding redress, Harsono’s artworks render visible the quiet, partial, and persistent repair-work undertaken within the ethnic Chinese community in the aftermath of violence, and use these practices as an idiom for an art of repair addressed to the broader Indonesian community.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"165 - 189"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41371831","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 : 2022-04-01DOI: 10.1177/14704129221097604
Yann K. Petit
Jennifer Bajorek’s Unfixed: Photography and Decolonial Imagination in West Africa introduces itself as telling ‘a history that has, in a sense, already been written – in photographs’ (p. 1). A respected translator of Jacques Derrida, Bajorek deconstructs the ever-changing lives of photographs in the cities of Dakar, Saint-Louis, Porto-Novo, and Cotonou to reconnect contemporary Senegalese and Beninese populations to an archive that few, if any, have delved into. Despite this lack of scholarship on the subject, Bajorek renders visible, even at times tangible, the socio-political changes photographers captured and catalyzed.
Jennifer Bajorek的《未固定:西非的摄影与非殖民化想象》将自己介绍为讲述“一段在某种意义上已经用照片写下来的历史”(第1页)。作为雅克·德里达(Jacques Derrida)的受人尊敬的翻译，Bajorek解构了达喀尔、圣路易、波尔图-诺沃和科托努等城市中不断变化的照片生活，将当代塞内加尔和贝宁人口重新连接到档案中，如果有的话，很少有人深入研究。尽管在这个问题上缺乏学术研究，巴约雷克还是让摄影师捕捉和催化的社会政治变化变得可见，甚至有时是有形的。
{"title":"Jennifer Bajorek, Unfixed: Photography and Decolonial Imagination in West Africa, reviewed by Yann Petit","authors":"Yann K. Petit","doi":"10.1177/14704129221097604","DOIUrl":"https://doi.org/10.1177/14704129221097604","url":null,"abstract":"Jennifer Bajorek’s Unfixed: Photography and Decolonial Imagination in West Africa introduces itself as telling ‘a history that has, in a sense, already been written – in photographs’ (p. 1). A respected translator of Jacques Derrida, Bajorek deconstructs the ever-changing lives of photographs in the cities of Dakar, Saint-Louis, Porto-Novo, and Cotonou to reconnect contemporary Senegalese and Beninese populations to an archive that few, if any, have delved into. Despite this lack of scholarship on the subject, Bajorek renders visible, even at times tangible, the socio-political changes photographers captured and catalyzed.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"233 - 237"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41443932","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 : 2022-04-01DOI: 10.1177/14704129221088302
J. Nguyễn
This article argues for the need to reflect on how contemporary artists use archival documents as a form of visual reparation. Artists Deanna Bowen, Krista Belle Stewart and Jacqueline Hoàng Nguyễn developed strategies for critically casting the past into the present in their own video work by relying on state-sanctioned archival images, specifically documents produced by and kept by the Canadian Broadcasting Company (CBC), once intended for a white audience. The author argues that these artists rely on their corporeal knowledge as, in photographic terminology, developer baths for re-processing latent historical images. The nexus of production labour and artistic research by self-identified BIPOC (Black, Indigenous, and People(s) of Colour) artists becomes a site for creative reparations and for a future world-making.
本文认为有必要反思当代艺术家如何利用档案文件作为一种视觉修复形式。艺术家迪安娜·鲍恩(Deanna Bowen)、克里斯塔·贝尔·斯图尔特(Krista Belle Stewart)和杰奎琳(Jacqueline Hoàng Nguyễn)通过国家批准的档案图像，特别是由加拿大广播公司(CBC)制作和保存的文件，制定了在自己的视频作品中批判性地将过去投射到现在的策略，这些文件曾经是为白人观众准备的。作者认为，这些艺术家依靠他们的身体知识，在摄影术语中，显影液对潜在的历史图像进行再处理。由自我认同的BIPOC(黑人、原住民和有色人种)艺术家创作的生产劳动和艺术研究的联系，成为创造性补偿和未来世界创造的场所。
{"title":"Re-processing archival images: artists as darkroom technicians","authors":"J. Nguyễn","doi":"10.1177/14704129221088302","DOIUrl":"https://doi.org/10.1177/14704129221088302","url":null,"abstract":"This article argues for the need to reflect on how contemporary artists use archival documents as a form of visual reparation. Artists Deanna Bowen, Krista Belle Stewart and Jacqueline Hoàng Nguyễn developed strategies for critically casting the past into the present in their own video work by relying on state-sanctioned archival images, specifically documents produced by and kept by the Canadian Broadcasting Company (CBC), once intended for a white audience. The author argues that these artists rely on their corporeal knowledge as, in photographic terminology, developer baths for re-processing latent historical images. The nexus of production labour and artistic research by self-identified BIPOC (Black, Indigenous, and People(s) of Colour) artists becomes a site for creative reparations and for a future world-making.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"21 1","pages":"90 - 110"},"PeriodicalIF":1.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413399","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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