Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239117
Bryony White
Abstract Ana Mendieta’s Rape Scene (1973) offers a visceral exploration of sexual, gendered, and racialized violence. Mendieta’s re-enactment of the rape of Sarah Ann Ottens, creates a purposefully traumatic, “triggering” scene for her audience to discover. In “returning to the scene of the crime,” Mendieta produces a critical methodology that facilitates a more complex interaction with the traumatic aftermath of gendered and racialized violence, one that refuses and questions the paltry validation and legitimization of gendered and racialized violence by the law and legal systems. In this article, I argue that Mendieta’s reenactment produces a legal excess, intervening in the juridical distribution of the norm, where the performance disavows the normative, regulative impulses associated with ‘law and order’ by allowing other, alternative traumatic affects into the room, ones which escape how crime scenes, and the law more broadly, try to regulate the emotional and affective aftermath of gendered and racialized violence. Through the performance’s triggering affective surplus, Mendieta draws us towards the site of her own racialized flesh, which, I argue, stages a conversation about the law as a system that both produces and naturalizes the violence that inheres in the gendering and racialization of the body.
摘要Ana Mendieta的《强奸场景》（1973）对性暴力、性别暴力和种族暴力进行了发自内心的探索。Mendieta对Sarah Ann Ottens强奸案的重演，为观众创造了一个有目的的创伤“触发”场景。在“回到犯罪现场”中，Mendieta提出了一种批判性的方法，该方法有助于与性别和种族化暴力的创伤后果进行更复杂的互动，拒绝并质疑法律和法律体系对性别和种族主义暴力的微不足道的确认和合法化。在这篇文章中，我认为门迪耶塔的重演产生了法律上的过度，干预了规范的法律分配，在这种情况下，通过允许其他替代性的创伤影响进入房间，这些创伤影响逃离了犯罪现场和更广泛的法律，试图调节性别化和种族化暴力的情感和情感后果。通过表演引发的情感过剩，Mendieta将我们引向了她自己种族化的身体所在地，我认为，这是一场关于法律的对话，法律是一个既产生又自然化身体性别化和种族化中固有的暴力的系统。
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239122
Theo Gordon
The various archives of the art and activism produced in New York City in response to HIV/AIDS are remarkably extensive and robust. This claim does not negate some of the foundational and structural biases in these archives, nor the ongoing daily struggle to maintain and keep archives open in the neoliberal economy, especially for those grassroots and community ventures forced continually to renew their bids for scant funding and resources. Students of the ongoing historical cataclysm of HIV are often quick to suspect that mass death and the resultant temporal distortions produced by pervasive racism, homophobia, and economic inequality—lives and artistic careers dramatically curtailed, possessions and works junked by uninterested relatives—necessarily imply a precarious and partial record of the extraordinary cultural response to the epidemic. My point is not to deny the many thousands of artists whose work has been lost as a result of such destruction, but to emphasize the historical fact that since the height of the epidemic in the United States, many activists and artists have been acutely aware of their materials’ precarity, and as such have made particular, inevitably partial, yet impressive efforts at preservation. In New York, the activist group the AIDS Coalition to Unleash Power (ACT UP), active since March 1987, had cabinets dedicated to archiving in their early 1990s workspace on West 29th Street, in which xeroxed copies of posters and pamphlets would be filed; the collection was partially accessioned to the New York Public Library (NYPL) in 1995. In 1994, Frank Moore (1953–2002) and David Hirsh (dates unknown) launched the archive committee, an artist-led endeavor to create a slide repository of works by those who had died of or had HIV/AIDS; the committee soon merged with the already established organization Visual AIDS to become the Archive Project. Also in 1994, New York University (NYU) established the Downtown Collection at Fales Library, whose acquisition policy for records of Lower Manhattan’s artistic cultures was directly informed by the ongoing losses of the epidemic. The assumption of a general archival devastation wrought by the social and political crisis of AIDS must, then, be tempered by recognition of the painstaking work of such projects, the materials of which shape the stories we are able to tell of HIV/AIDS today. Marika Cifor’s Viral Cultures: Activist Archiving in the Age of AIDS is the first extended study of the archival configurations of HIV/AIDS in New York, charting the history of their formation, how ideologies—“temporal, political, technological, cultural, and biomedical”—have shaped them, and the ways that people —“activists, artists, curators, and archivists”—continue to engage them (4). Focusing chiefly on these three collections, Cifor firmly establishes the history of “activist archiving,” which began during what Jules Gill-Petersen calls the “epidemic time” of HIV, the period ca.1981–96 when the dea
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239120
christina ong
What makes art “Asian”? What makes art “American”? How can ethnic, racial, and national categories be utilized in the arts without becoming essentializing? Two collections, Best! Letters from Asian Americans in the Arts, edited by Christopher K. Ho and Daisy Nam, and American Art in Asia: Artistic Praxis and Theoretical Divergence, edited by Michelle Lim and Kyunghee Pyun, confront these questions head on. Beyond a cursory overview of the ways in which one’s racial or ethnic identity and national allegiances impact art workers, these collections complicate existing labels that place art and its creators strictly within the boundaries of existing frameworks within fields spanning art history, ethnic studies, and area studies. To begin, both collections’ editors write on the centrality of the novel coronavirus pandemic, which hastened their projects into reality. The seeds of Ho and Nam’s Best! were planted in early 2020. With an open premise, they put forward a call for letters from Asian American cultural workers to “explore their Asian American identity in relationship to their practice, their upbringing, their place in the world, and their aspirations for the future” resulting in seventy-three letters of varied nature from artists, curators, professors, and others in the field (2). With this large number of contributions, the collection brings varied perspectives to the fore. And, with open-ended prompting questions provided to the writers, the content may be overwhelming at first glance. Still though each letter ranges in form and length, there are familiar kernels embedded in each: themes of diasporic identity, belonging, and intergenerational legacies which tie seemingly disparate contributions together. Published by Paper Monument, a nonprofit art press based in Brooklyn, Best! finds a home alongside texts which encourage critical thought from and for artists. Choosing to intimately tackle questions of
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239115
Hava Aldouby
Abstract “Ruptured Envelopes, Double Shells” explores the presence and meaning of skin in art of the early twenty-first-century. Millennial art has engaged skin through an intriguing selection of media, from animal hides to latex and silicon. The installations discussed in this paper experiment with biological and artificial skins, transformed into fetishized shells and brought to bear on contemporary sociocultural anxieties. The paper draws on Didier Anzieu’s Skin-Ego theory as a useful analytical framework, allowing discussion of both psychological and sociocultural aspects of skin. Works by Ana Álvarez-Errecalde, Nandipha Mntambo, Jessica Harrison, Wu Tien-chang, Michel Platnic, Pamela Rosenkranz, and Penny Siopis are discussed under the categories of “double shells,” “skin fetishes,” and “de-structured skins.” Analysis proceeds along two critical paths. Thus, a historically-specific political perspective is coupled with a phenomenological reflection on skin’s appeal to the haptic sensibility of our bodily borders. Investigating the turbulence of global mobility through the trope of skin, the paper reflects on subjects’ sense of “skinlessness” in an age when Otherness is ubiquitous, whether it is political, geographic, ethnic, or racially specific. At the same time, the growing phenomenological discourse on embodied aesthetics invites reflection upon sensory aspects of skin-based art, in relation to the lived experience of bodily envelopes. Assuming a synergy between these complementary critical paths, the paper offers close analysis of seven artists’ skin-related installations and videos, with particular attention to how skin comes to matter in an age of global turbulence.
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239116
Eva Díaz
Abstract “One Hundred Years of Revolutionary Experiments in Visual Art Education” defines and clarifies four often-invoked yet elusive concepts in visual art and visual art pedagogy: “experimental,” “progressive,” “critical,” and “radical.” Using the Marxist-theory based Whitney Independent Study Program in New York as a case study, an institution now transitioning from over a half-century under the continuous leadership of director Ron Clark, it helps write the history of the past one hundred years of revolutionary art training. In particular, this essay argues that the critical theory in contemporary art education taught at organizations like the Whitney Program, though built on a foundation initiated by experimental art schools such as the Bauhaus, Black Mountain College, and Vkhutemas, has dramatically reinvented the terms in which progressive politics are understood in visual art. To truly understand the Whitney Program’s unique form of revolutionary experimentation requires contending with the radical element of its pedagogy as laid out in the definition this essay provides of radical pedagogy, that is, the ISP’s emphasis on social change. This emphasis comes to the ISP in large part from the Frankfurt School, which, beginning in the 1920s, embarked on a critique of the culture and social forms of modernity, exploring the anomie and alienation at the heart of capitalist class inequality. The ISP is radical in the literal meaning stemming from the Latin radix (root), as it questions the basis of art at an ideological level: what roles it serves, and how it can align with other forces in society advocating for social justice, racial, gender and class equality, and economic redistribution.
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239121
Tara Kuruvilla
tions of the Vietnam War in her artistic practice and family history in her chapter, “American War in Viê.t Nam: We Are Besides Ourselves.” Beginning with her fascination with magazine covers from the 1960s and 1970s, Tru’o’ng illustrates how repeatedly seeing photographs of Vietnamese people during the war on in these magazines “sedimented a notion of Vietnamese people” within binary constructs of enemy/victim, to be killed/to be saved (152). The haunting echoes of antiAsian racism and subjugation under white supremacy and Western militarism pervade Tru’o’ng’s artistic practice. In her early work, she destabilizes the Western gaze, combining archival photographs of these early magazines with personal photos from her family. By taking influence from decolonial and postcolonial practices, Tru’o’ng’s later work grapples with her positionality in relation to those in her photos or in the texts she clips as part of her artwork. Influenced by Trinh T. Minh-ha, she writes of her notion of “speaking nearby” to avoid co-optation and power imbalance by art workers and scholars (157). Ultimately, Tru’o’ng’s reflexivity in her own art practice aims to rectify the historical erasure of Asians living in and influenced by America. The concluding section, “Connecting Asia and the Americas in the Global South,” centers the experiences of cultural workers in the Global South. Zhanara Nauruzbayeva, a native of Kazakhstan, chronicles the creation of a participatory art project and popup café in the region in her chapter, “The Artopologists: Rethinking Food Justice in Central Asia.” Working alongside two colleagues from the United States, Nauruzbayeva spent six weeks in Kazakhstan to create “an interactive cooking and eating space as a vehicle for exploring and reflecting on Central Asian foodways” (222). Her chapter outlines the plans and setbacks that her team went through in the process of creating the Borrowed Kazan pop-up café, echoing the reflexive nature of James Jack’s essay on cooperative artmaking in Japan. For artists interested in creating similar kinds of interactive, community-based art, Nauruzbayeva lays out key points to consider. Though life in many ways has attempted to move beyond the immeasurable loss and upheaval caused by COVID-19, its existence alongside anti-Asian sociopolitical responses by global leaders across the West urged Ho and Nam, and Lim and Pyun, to think of “new hope and directions in thinking about how to respond to ethical dilemmas and inequalities, in terms of art-making and reaching new audiences” (Lim and Pyun, 235). Though both Best! and American Art in Asia have similar aims, the collections utilize different approaches and target different audiences. Despite this, taking both into account urges readers to think broadly about the limits we place on artists and what can be done to recalibrate our own understanding of geopolitical and racial divisions that impact artistic cultural production. For those outside of Asian Americ
在她的艺术实践和家族史章节“美国在越南的战争：我们超越了我们自己”中，她对越南战争的描述。从她对20世纪60年代和70年代杂志封面的迷恋开始，Tru'ong举例说明了在这些杂志上反复看到越南人民在战争期间的照片是如何在敌人/受害者、被杀/被救的二元结构中“沉淀出越南人民的概念”的（152）。反亚裔种族主义和白人至上主义和西方军国主义统治下的征服的回声弥漫在特鲁的艺术实践中。在她的早期作品中，她将这些早期杂志的档案照片与家人的个人照片相结合，破坏了西方的视线。通过受到非殖民化和后殖民实践的影响，Tru'ong后来的作品努力解决她与照片或她作为艺术作品一部分剪辑的文本中的立场问题。受Trinh T.Minh ha的影响，她写下了“就近发言”的概念，以避免艺术工作者和学者的选择和权力失衡（157）。最终，Tru'ong在自己的艺术实践中的反思性旨在纠正对生活在美国并受到美国影响的亚洲人的历史抹去。最后一节“在全球南方连接亚洲和美洲”集中讲述了全球南方文化工作者的经历。哈萨克斯坦本地人扎娜拉·瑙鲁兹巴耶娃在她的《艺术社会学家：重新思考中亚的粮食正义》一章中记录了该地区参与式艺术项目和弹出式咖啡馆的创建，Nauruzbayeva在哈萨克斯坦呆了六周，创建了“一个互动烹饪和用餐空间，作为探索和反思中亚美食的工具”（222）。她的章节概述了她的团队在创建Borrowed Kazan弹出式咖啡馆的过程中所经历的计划和挫折，呼应了詹姆斯·杰克关于日本合作艺术创作的文章的反射性。对于有兴趣创作类似互动式社区艺术的艺术家，Nauruzbayeva列出了需要考虑的要点。尽管生活在许多方面都试图超越新冠肺炎造成的不可估量的损失和动荡，但它的存在以及西方全球领导人的反亚裔社会政治反应敦促何和南、林和平，思考“在艺术创作和接触新观众方面，思考如何应对道德困境和不平等的新希望和方向”（Lim和Pyun，235）。虽然都是最好的！和亚洲的美国艺术有着相似的目标，这些藏品采用了不同的方法，面向不同的观众。尽管如此，考虑到这两个因素，促使读者广泛思考我们对艺术家的限制，以及如何重新调整我们对影响艺术文化生产的地缘政治和种族划分的理解。对于亚裔美国人以外的人来说，这两个系列中存在的更大问题影响着我们所有人：一个人的身份影响一个人的作品意味着什么，我们如何协调我们的作品与贴在我们身上的标签？最终，最好！《亚洲的美国艺术》（American Art in Asia）深入探讨了为什么像全球南北或亚洲/美国这样的二元体系不仅对艺术家和策展人有害，而且对艺术的传播和扩散也有害。
{"title":"Taking, Breaking, and Re-Making","authors":"Tara Kuruvilla","doi":"10.1080/00043249.2023.2239121","DOIUrl":"https://doi.org/10.1080/00043249.2023.2239121","url":null,"abstract":"tions of the Vietnam War in her artistic practice and family history in her chapter, “American War in Viê.t Nam: We Are Besides Ourselves.” Beginning with her fascination with magazine covers from the 1960s and 1970s, Tru’o’ng illustrates how repeatedly seeing photographs of Vietnamese people during the war on in these magazines “sedimented a notion of Vietnamese people” within binary constructs of enemy/victim, to be killed/to be saved (152). The haunting echoes of antiAsian racism and subjugation under white supremacy and Western militarism pervade Tru’o’ng’s artistic practice. In her early work, she destabilizes the Western gaze, combining archival photographs of these early magazines with personal photos from her family. By taking influence from decolonial and postcolonial practices, Tru’o’ng’s later work grapples with her positionality in relation to those in her photos or in the texts she clips as part of her artwork. Influenced by Trinh T. Minh-ha, she writes of her notion of “speaking nearby” to avoid co-optation and power imbalance by art workers and scholars (157). Ultimately, Tru’o’ng’s reflexivity in her own art practice aims to rectify the historical erasure of Asians living in and influenced by America. The concluding section, “Connecting Asia and the Americas in the Global South,” centers the experiences of cultural workers in the Global South. Zhanara Nauruzbayeva, a native of Kazakhstan, chronicles the creation of a participatory art project and popup café in the region in her chapter, “The Artopologists: Rethinking Food Justice in Central Asia.” Working alongside two colleagues from the United States, Nauruzbayeva spent six weeks in Kazakhstan to create “an interactive cooking and eating space as a vehicle for exploring and reflecting on Central Asian foodways” (222). Her chapter outlines the plans and setbacks that her team went through in the process of creating the Borrowed Kazan pop-up café, echoing the reflexive nature of James Jack’s essay on cooperative artmaking in Japan. For artists interested in creating similar kinds of interactive, community-based art, Nauruzbayeva lays out key points to consider. Though life in many ways has attempted to move beyond the immeasurable loss and upheaval caused by COVID-19, its existence alongside anti-Asian sociopolitical responses by global leaders across the West urged Ho and Nam, and Lim and Pyun, to think of “new hope and directions in thinking about how to respond to ethical dilemmas and inequalities, in terms of art-making and reaching new audiences” (Lim and Pyun, 235). Though both Best! and American Art in Asia have similar aims, the collections utilize different approaches and target different audiences. Despite this, taking both into account urges readers to think broadly about the limits we place on artists and what can be done to recalibrate our own understanding of geopolitical and racial divisions that impact artistic cultural production. For those outside of Asian Americ","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44856867","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}
Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2240219
Meme Omogbai
I am honored and delighted to be taking up the directorship of the Program in Medieval Studies in the new year. I want to thank Anne D. Hedeman for her dynamism and collegiality as director during the last three years. The programs of events for each year now archived on our website (www.medieval.uiuc.edu) reflect the richly varied interests of our members and a stream of distinguished visitors from around the world. Anne D. was key to the establishment of the program. It was she who drew together a bunch of us to compete for one of the seven exchanges that Illinois approved with France’s Centre National de la Recherche Scientifique in 1998. (The Program in Medieval Studies was the only humanities group to be funded. Our exchange was so successful that it was renewed for two years beyond the initial three.) This collaboration inspired us to work together to apply for official recognition as a Program with a graduate certificate. Then Stephen Jaeger came to be our first director in 2001, and in his wake new colleagues joined us in Classics, History, English, and Architecture. Anne D. has sustained the momentum generated six years ago. I owe a great debt to Charlie Wright for generously agreeing to act as director during the fall semester. He has accomplished an amazing amount for the program, organizing a high profile international conference for next fall on “Translating the Middle Ages,” drafting bylaws, initiating a proposal for an undergraduate minor in medieval studies—all of this besides teaching two courses and editing JEGP! Going forward, we hope to develop our undergraduate course offerings, build links with other programs on campus, strengthen exchange programs, and further increase our visibility on the national and international scenes. I look forward to continuing the work that Anne D. and Charlie have done.
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Pub Date : 2023-04-03DOI: 10.1080/00043249.2023.2239113
Fu Bin
We have entered a “post-printing” era. The dissemination of information and images has become more diversified and complex, and traditional printing is facing new challenges. How can we both preserve tradition and transcend its borders? Contemporary printmaking can be used as a kind of “synthetic” art to separate from the traditional printing process and image reproduction, which will change the inertial thinking that printmaking is only for printing. Reproduction is no longer the most important attribute of contemporary printmaking, instead diversified, mixed, and crossmedia art practices are the future. In my recent works, I have combined the engraving of the woodcut matrix with oil painting. The raised black lines and colors with rich strokes create a subtle space in the seemingly flat painting and bring a unique formal language and visual experience. My process references the procedural characteristics of printmaking and divides them into several independent steps. First, I do not emphasize the replicability of printing. The layout is engraved but not used for printing; and the wooden board (matrix) with rich knife-mark texture becomes the base of the picture. Second, I use the ink for printmaking instead of paint to draw the colors. Finally, I use a roller to ink the raised part of the picture and black to highlight the main structure of the picture, thus completing a unique composite material painting. This creative method relies on unique tools and painting language, mixing the indirect expression of printmaking with the direct articulation of painting. Using the language and modes of ontology I explore the potential of printmaking and regard different production techniques and visual forms in printmaking as the most valuable parts, which inspires me to highlight the unique artistic expression and aesthetic characteristics of printmaking. I depict figurative and flat urban landscapes. In my opinion, the city is not only a space for daily life but also a container for storing history, culture, and individual memory. In Western art history, landscapes were long used only as backgrounds until Caspar David Friedrich first transformed the landscape into a mental image and a metaphor for the psychological state of human existence. My Parallel Lines series of works focuses on the daily landscape around us but one in which there are no traces of people in the familiar sense. The absence of people is a metaphor for the mental state of many urbanites. In the face of China’s rapid urbanization and development, the transformation in the urban landscape results in a huge impact not only on the visual but also the psychological. The gap between dreams and reality makes people have a strong sense of strangeness and alienation from the city they live in. The Once Upon series of works are based on photographs I took while traveling in Hong Kong. Its crowded urban spaces have typical postmodern characteristics, but it wasn’t the typical high-rise buildings
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