现代原始人(2020-正在进行):纸上的水墨蜡笔

IF 1.8 4区 社会学 Q2 WOMENS STUDIES Frontiers-A Journal of Women Studies Pub Date : 2023-03-27 DOI:10.1353/fro.2023.0007
Anwar Faizd Osman
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引用次数: 1

摘要

2019冠状病毒病大流行是全球范围内白人至上主义暴力、反黑人种族主义、黑人行动主义高度曝光的时期。受此启发,现代原始(2020)是我于2020年3月开始的一系列新绘画,其中包括我们已知和未知的个人的彩色肖像。《现代原始》使用“凯伦/凯文”、“反面具者”和“反疫苗者”等熟悉的文化比喻作为人物研究,每个作品的标题都引用了这些比喻。《现代原始》提供了一个亲密的视角,让我们看到,在我们共同的世界里,不同的人生活在一起和分开是什么样子的,对他们来说意味着什么,但现实却截然不同。这些图像抵制传统艺术史和“原始主义”的概念,这些概念是基于欧洲中心主义和现代主义对其他文化的“异国情调”和“他者”的建构,以粗糙的人物姿态和姿态描绘流行主题,类似于“非白人”文化在历史上被歪曲为不如白人艺术家和“现代”文化那么复杂和“文明”。在这里,长期以来定义人种志肖像和视觉文化的白人凝视及其逻辑被颠覆,并被一种批判的、当代的、酷儿的黑人镜头和凝视所取代。
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Modern Primitive (2020–Ongoing): Ink and Pencil Crayon on Paper
The COVID19 pandemic represents a period in time in which people all over the globe witnessed the hypervisibility of white supremacist violence, antiBlack racism, and Black activism on a global scale. Inspired by this, Modern Primitive (2020) is a new series of drawings I began in March 2020 that features colorful portraits of individuals who are both known and unknown to us. Using familiar cultural tropes like “Karens/Kevins,” “AntiMaskers,” and “AntiVaxxers” as character studies, which are also invoked in/by each individual work’s title, Modern Primitive offers intimate glimpses of what living together as well as apart looks like and means to/for different people in a/our shared world(s) yet with diverse and distinct realities. Resisting traditional art histories and notions of “primitivism” that are based on Eurocentric, modernist constructions of other cultures as “exotic” and “Other,” these images portray popular subjects in rough figural poses and gestures akin to how “nonwhite” cultures have been historically misrepresented as less sophisticated and “civilized” than white artists and “modern” cultures. Here, the white gaze and its logics that have for so long defined ethnographic portraiture and visual culture are subverted and replaced with/by a critical, contemporary, queer Black lens and gaze.
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