Pub Date : 2020-08-01DOI: 10.1177/1470412920941897
S. Crasnow
This article examines the use of mythological hybrid figures in works by two non-binary queer contemporary artists of color. For these artists, the intersection of their ethnic/religious identities and their queer identities leads them to experience a hindrance to full belonging in each of these communities. This results in a feeling of liminality or ‘in-betweenness’. In considering this ‘in-betweenness’ as an intersectional liminality, the author argues that these artists utilize mythological hybrid figures in their work to articulate this experience as one of potential, rather than foreclosure. In so doing, this article seeks to challenge, and possibly transform, the notion of the hybrid as a composite of oftentimes irreconcilable parts one must navigate and move between into a site of creative promise. Rooting this re-evaluation of liminality and hybridity in the verbal and artistic articulations of queer non-binary artists of color centers these voices in the construction of new notions of hybridity and liminality.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920944480
Eliza Steinbock
This article endeavors to describe the impact of ‘visual essentialism’ as an approach towards trans visual culture, including the violence it enacts and the mistrust it fosters towards self-defining language for gender identities. It borrows Susan Stryker’s insight in her introduction to her Transgender Studies Reader (2006, edited with Stephen Whittle) that trans phenomena move to the foreground when set against an ambient background consisting of gender normative conditions. It extrapolates this visual metaphor for understanding trans in contrast to non-trans into a method to analyze trans visual culture. The author argues that, by focusing on how the figure and ground relate in alignment, or not, the analyst can better examine how the components of visuality are working together to position one’s value-laden perspective on visible transgender and non/trans things. This elaboration along three proposed categories of value, namely political, symbolic and commercial, is offered to better understand and parse the noted problem of trans visibility increasing alongside transphobic violence.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920936574
Hannah M. Stamler
In their 2011 edited volume Useful Cinema, Charles R Acland and Haidee Wasson argue that the majority of cinema scholarship misses an important feature of the medium by focusing on commercial public films. The 20th century, they note, witnessed not only the rise of entertainment cinema but also the creation of a vast universe of what the authors term ‘useful cinema’: educational and instructional films created by schools, public agencies, and private businesses. Such films – played on the walls of classrooms, exhibition halls, and offices – projected a different, yet equally important, vision of cinema’s place and purpose in modern life. Here, the medium was technology more than art: a tool for ‘making, persuading, instructing, demonstrating’ (Acland and Wasson, 2011: 6). To arrive at an accurate understanding of 20th-century film culture, they conclude, scholars must pivot away from theatrical releases and begin to consider film history’s entanglement with institutional history, exploring how cinema was ‘adapted to institutional directives, wielding influence outside of the multiplex and the art house’ (p. 13).
Charles R Acland和Haidee Wasson在他们2011年编辑的《有用的电影》一书中认为，大多数电影学术关注商业公共电影，错过了媒体的一个重要特征。他们指出，20世纪不仅见证了娱乐电影的兴起，还创造了一个被作者称为“有用电影”的广阔宇宙：由学校、公共机构和私营企业创作的教育和教学电影。这些电影在教室、展厅和办公室的墙上播放，投射出一种不同但同样重要的对电影在现代生活中的地位和目的的愿景。在这里，媒介是技术而不是艺术：一种“制造、说服、指导、展示”的工具（Acland和Wasson，2011:6）。他们得出结论，为了准确理解20世纪的电影文化，学者们必须从影院上映转向电影史与制度史的纠缠，探索电影是如何“适应制度指令，在多元化和艺术之外发挥影响力”的（第13页）。
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Pub Date : 2020-08-01DOI: 10.1177/1470412920944501
KJ Cerankowski
The archive consists of memories, documents, and images waiting to be curated into a story. In this article, the author collates archival object encounters into a transgender ‘ghost story’ that marks the impossibility of a straightforward history of the subject, relying instead on embodied encounters with archive objects, or the remnants (ghostly and tangible) of archival subjects. Following the materials of Charley Parkhurst and Reed Erickson, the author makes connections where none previously existed, asking: How do we put life back into the materials of the dead? What do the traces and memories of these ghosts offer the living? What do archive objects activate in the eyes that see them, the ears that listen, and the hearts that race or slow with each haptic encounter? Following these questions, this article pieces together a different kind of narrative history and transition story through the unexpected encounters with the archive and its ghosts.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920946827
Chris Straayer
This article examines trans commercial production of penile prosthetics, the efficacy of such products in personal and sex-segregated spaces, and their negative valence in the public sphere. Responding to his own experience of gender dysphoria, Transthetics founder Alex designs and produces products for the reparative and enabling embodiment of trans men. Penile prosthetics reflect the longstanding tension between aesthetics and function in the history of prosthetic limbs. The author posits ‘stealth aesthetics’ as a function-injected realism that pushes into reality via utilization of prosthetics in the performance of real life. For some trans men, the phenomenologically incorporated prosthetic is tantamount to a corporeal penis. Cisnormativity, however, outlaws this equivalence. Recent prosecutions of penile prosthetic embodiment as ‘gender fraud’ punitively restrict trans men’s claim on reality, instead exposing their private bodies to public judgment, where genitals produce gender. By contrast, the author advocates the authorization of gender to produce genitals.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920944493
Kara Carmack
In January 1977, Potassa de Lafayette visited Andy Warhol’s studio wearing a black velvet and taffeta evening gown. The Dominican model sat for sketches by visiting artist Jamie Wyeth and photographs taken by Warhol that together reveal the sequence in which Potassa raised her skirt and lowered her stockings to expose her penis. This contribution explores Potassa’s strategies of self-presentation amid the politics at play in the studio that day. The author reads Potassa as a self-possessed figure fully in control of her image because hers is an identity not predicated on a gendered or sexed body, but on a visual sensibility – as one who ‘loves beautiful things’. As an aesthete and as one of the first openly transgender models of color, Potassa, the author argues, negotiated difference through beauty and glamor in Warhol’s studio and across New York’s high art and fashion scenes.
1977年1月，波塔莎·德·拉法耶特(Potassa de Lafayette)穿着黑色天鹅绒和塔夫绸晚礼服参观了安迪·沃霍尔(Andy Warhol)的工作室。这位多米尼加模特坐下来让来访的艺术家杰米·怀斯(Jamie Wyeth)画素描，还有沃霍尔(Warhol)拍摄的照片，这些照片一起揭示了波塔萨掀起裙子、放下丝袜露出阴茎的顺序。这篇文章探讨了波塔萨在那天工作室里的政治活动中自我呈现的策略。作者认为波塔萨是一个完全控制自己形象的镇静人物，因为她的身份不是基于性别或性别的身体，而是基于视觉敏感性——作为一个“热爱美丽事物”的人。作者认为，作为一名唯美主义者和第一批公开跨性别的有色人种模特之一，波塔萨在沃霍尔的工作室和纽约的高级艺术和时尚界，通过美丽和魅力来协商差异。
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Pub Date : 2020-08-01DOI: 10.1177/1470412920941905
Cole Rizki
On 24 March 1976, the Argentine military staged a coup d’état and established dictatorship. To eliminate radical left activists, the armed forces perpetrated mass civilian murder until democratic transition in 1983. The Mothers of Plaza de Mayo emerged, protesting their children’s disappearance by mobilizing portraiture to make visible familial rupture and indict the state. This article examines the archival exhibit, Esta se fue, a esta la mataron, esta murió (2017), which displayed trans women’s vernacular photographs and family albums from the 1970s–1980s, the same years as dictatorship. Analyzing the exhibit’s curatorial choices and the photographs’ material and haptic qualities, this article reads the exhibit alongside the Mothers’ iconic activist visual culture and national narratives of family loss. In doing so, the author suggests the exhibit renders trans sociality familial and familiar to a national viewing public, thereby reinterpreting Argentine history by installing trans subjects as proper subjects of national mourning.
1976年3月24日，阿根廷军方发动政变，建立独裁政权。为了消灭激进的左派激进分子，武装部队在1983年民主转型之前进行了大规模的平民谋杀。“五月广场的母亲”(Mothers of Plaza de Mayo)出现了，她们通过动员肖像来抗议自己孩子的失踪，让家庭破裂变得显而易见，并起诉政府。本文考察了档案展览Esta se fue, a Esta la mataron, Esta murió(2017)，该展览展示了20世纪70年代至80年代跨性别女性的乡土照片和家庭相册，与独裁统治同年。本文分析了展览策展人的选择、照片的材料和触感质量，并将展览与母亲协会标志性的激进主义视觉文化和家庭丧失的国家叙事结合起来。在此过程中，作者建议该展览使跨性别社会为全国观众所熟悉和熟悉，从而通过将跨性别主题作为国家哀悼的适当主题来重新解释阿根廷历史。
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Pub Date : 2020-08-01DOI: 10.1177/1470412920936582
S. L. Hayes
Artist Jenny Odell joins a growing conversation about art and social reproduction with her widely circulated (2019) book How to Do Nothing: Resisting the Attention Economy. This text offers an exciting popular effort to articulate the politics of non-instrumental aesthetics as a kind of critical revitalization. As she writes it, there is ‘revolutionary potential’ in ‘taking back our attention’ and ‘protect[ing] our spaces and our time for noninstrumental, noncommercial activity and thought, for maintenance, for care, for conviviality’ (pp. xxiii, 28). The primary wager of Odell’s book is that ‘doing nothing [is] an act of political resistance to the attention economy’ (p. xi). ‘Doing nothing’ is the name Odell gives to the practice of ‘disengaging’ from those frenetic, instrumental, or self-branding styles of attention that are encouraged by social media and our late capitalist world. Odell’s interest in the anxious and overstimulated subject that is produced by such dominant modes of attention may thus be contextualized within a larger body of critical writing on neoliberal affect and human capital subject formation. Read this way, How to Do Nothing issues a timely call for the cultivation of non-instrumental aesthetic practices that might enable us to build ourselves into different subjects (and subsequently also, create different shared lifeworlds) than those disciplined by our competitive, algorithmic work society.
艺术家珍妮·奥德尔(Jenny Odell)在她广受欢迎的(2019)书《如何无所作为:抵制注意力经济》(How to Nothing: resist the Attention Economy)中加入了关于艺术和社会再生产的日益激烈的讨论。这篇文章提供了一个令人兴奋的流行努力，阐明非工具美学的政治作为一种批判的振兴。正如她所写的那样，在“收回我们的注意力”和“保护我们的空间和时间，用于非工具性的、非商业性的活动和思想，用于维护、照顾和娱乐”方面，存在着“革命性的潜力”(第23页，28页)。奥德尔这本书的主要赌注是“什么都不做(是)对注意力经济的一种政治抵抗”(第11页)。奥德尔将“什么都不做”称为“脱离”社交媒体和晚期资本主义世界所鼓励的那些狂热的、工具性的或自我品牌化的注意力风格的做法。奥德尔对焦虑和过度刺激的主体的兴趣是由这种主要的注意力模式产生的，因此可以在一个更大的关于新自由主义情感和人力资本主体形成的批评性写作中被语境化。这样看，《如何无所事事》及时地呼吁培养非工具性的审美实践，这可能使我们能够将自己塑造成不同的主题(随后也创造出不同的共享生活世界)，而不是被我们竞争激烈的、算法化的工作社会所约束。
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Pub Date : 2020-08-01DOI: 10.1177/1470412920941901
Robb Hernández
Roused by the deaths of five African American transgender women in Florida in 2018, artist David Antonio Cruz intervenes in inaccurate media reports about these murders. Painting portrait of the florida girls in 2019, his diptych of significant scale and palette, confronts this senseless violence and challenges sensationalized coverage. This article centralizes his work arguing for the ways in which Cruz innovates transgender of color visibility through a queer of color critiquing of the portrait form and concerted use of a ‘blacktino’ optic. Ruminating on the combined tragedies of gun violence at Pulse nightclub and serial murder of trans femmes, Cruz’s work interrogates the posthumous transgender image with a reversal of digital source material and bodily logics in pose and countenance. By turning to the transnational crossroads shaping these communities’ shared horrors, central Florida, Cruz activates his audience with a sense of urgency in the persuasive power of pink.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920946829
Cyle Metzger, Kirstin Ringelberg
Transgender art and visual culture studies is a quickly growing field, and we present it to readers of this themed issue less as a linear discourse or a set of parameters than as a prism, with no clear temporal progression or geopolitical center. In this introduction, we not only announce the articles in this issue and discuss their convergences and divergences but also survey works in transgender studies that have proven critical to discussions of the visual and material within transgender cultures. Reading what follows, we hope any shared notion of transgender art and visual culture is expanded rather than contracted – that we find new ideas rather than merely those that reconfirm our existing sense of things or serve a monolithic construct that limits our future imaginary.
{"title":"Prismatic views: a look at the growing field of transgender art and visual culture studies","authors":"Cyle Metzger, Kirstin Ringelberg","doi":"10.1177/1470412920946829","DOIUrl":"https://doi.org/10.1177/1470412920946829","url":null,"abstract":"Transgender art and visual culture studies is a quickly growing field, and we present it to readers of this themed issue less as a linear discourse or a set of parameters than as a prism, with no clear temporal progression or geopolitical center. In this introduction, we not only announce the articles in this issue and discuss their convergences and divergences but also survey works in transgender studies that have proven critical to discussions of the visual and material within transgender cultures. Reading what follows, we hope any shared notion of transgender art and visual culture is expanded rather than contracted – that we find new ideas rather than merely those that reconfirm our existing sense of things or serve a monolithic construct that limits our future imaginary.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920946829","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48082445","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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