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: 10.1177/1470412920946829
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.
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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: 10.1177/1470412920944490
S. Stryker
This short, first-person essay describes and briefly evaluates the life and work of the Russian–Hungarian trans-identified artist El Kazovsky (1948–2008). It principally focuses the author’s viewing of ‘The Survivor’s Shadow: The Life and Work of El Kazovsky’ – a massive, 19-room retrospective exhibition at the Hungarian National Gallery in 2015–2016. The author explores the paradox of El Kazovsky’s visibility as a nationally celebrated artist in a moment of extreme state-sanctioned queer-phobia, and the illegibility of his transness. It ends by suggesting that the practice of ‘surviving in shadow’ is increasingly necessary given the continued worldwide drift toward reactionary ethno-nationalist politics that are hostile to trans lives.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920944482
H. Holmes
Jesse Darling, a contemporary Berlin-based artist, produces sculptures, paintings, and drawings that animate material to depict a lived experience of queerness and disability. This article highlights a recent exhibition of Darling’s as an entry point to their wide-ranging practice. Refracted through the lens of Sara Ahmed’s concept of feminist ‘willfulness’, Darling’s objects depict the body as unruly, unpredictable, and given to change, making them exciting candidates for both disability and trans studies. At a moment in contemporary art and cultural production more broadly when gender-nonconformity is signaled through an attempt to erase bodily markers of specificity, Darling insists on such specificity as the inescapability of the human experience.
{"title":"On Jesse Darling","authors":"H. Holmes","doi":"10.1177/1470412920944482","DOIUrl":"https://doi.org/10.1177/1470412920944482","url":null,"abstract":"Jesse Darling, a contemporary Berlin-based artist, produces sculptures, paintings, and drawings that animate material to depict a lived experience of queerness and disability. This article highlights a recent exhibition of Darling’s as an entry point to their wide-ranging practice. Refracted through the lens of Sara Ahmed’s concept of feminist ‘willfulness’, Darling’s objects depict the body as unruly, unpredictable, and given to change, making them exciting candidates for both disability and trans studies. At a moment in contemporary art and cultural production more broadly when gender-nonconformity is signaled through an attempt to erase bodily markers of specificity, Darling insists on such specificity as the inescapability of the human experience.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"19 1","pages":"272 - 276"},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920944482","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44683012","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 : 2020-08-01DOI: 10.1177/1470412920944500
Stamatina Gregory
Medicalized and often surveilled shifts of the cancerous and/or trans body intersect in generative ways: metaphorical and material, symbolic and systemic. This piece discusses Patrick Staff’s (2017) video Weed Killer through an analysis of its source text, Catherine Lord’s essay ‘The Summer of Her Baldness’ (2003) along with prior queer and feminist explorations of cancer, disease, and pain, to build a transfeminist analysis of how the experience of cancer treatment reveals the constructedness of femininity as well as the ablism underlying binary gender systems. Staff’s work creates alignments and ruptures between sets of a potentially intersecting politics, which bear the weight of naturalized gender, pharmacological mediation, ‘passing’, and debility.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920941899
K.J. Rawson, Nicole Tantum
Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This photo essay explores not only the documentary value of these images, but also the important considerations of visibility, privacy, and the ethics of circulation that they elicit.
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Pub Date : 2020-08-01DOI: 10.1177/1470412920936572
Adela Kim
Joan Kee’s latest book Models of Integrity: Art and Law in Post-Sixties America may as well be considered the first foundational text in the field of art and law. Initially, this might appear as an overstatement given the sheer amount of literature on the intersection of the two fields over the past two decades. Indeed, excluding legal case books, one might recall titles ranging from Martha Buskirk’s The Contingent Object of Contemporary Art (2003) to the more recent anthology, Daniel McClean’s Artist, Authorship & Legacy: A Reader (2018). These books dutifully address how the continued reconceptualization of art in the postwar era went hand in hand with changes in the conflicting copyright and authorship laws around the world. Yet, if the existing literature remains stubbornly confined to the work of art, Kee’s book proffers a far more expansive approach by focusing on the contentions between art and law: namely, what unfolds when the two disparate fields are put in discomfortingly close proximity? What unexpected aspects might each field glean from the other?
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