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Download Download FEATURING! ! STEPHEN GILCHRIST! ELIZABETH HAWLEY! ANNEMARIE IKER ! GARY KAFER! CARLOS KONG! JODI KOVACH! INGRID NORDGAARD! ERIN PETERS ! LORETTA RAMIREZ ! HENRY F. SKERRITT! ! ! ! Agency in Motion Agency & Reenactment in Visual Culture! Volume 5 Fall 2016! CONTEMPORANEITY historical presence in visual culture Vol 5, No 1 “Agency in Motion” (2016) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2016.185 http://contemporaneity.pitt.edu Agency in Motion Editorial Statement Nicole F. Scalissi and Annika Johnson Just what is “Agency”? Is it a scholarly method or orientation? Something we possess or exercise as humans? Or, do objects, networks, environments, and time exert agency as well? Is it always related to power and freedom, or is vulnerability an expression of agency? Is “agency” determinate, or is it kinetic—as only set into motion or into being when in connection to someone or something else? We encounter this term in a popular contex t as expression (as artistic agency) or as power (as political agency) and, in academic scholarship, we encounter it often, but with different resonance and meaning across disciplines. While agency per se has not always been the explicit focus of inquiry, recent discourse on violence, politics, sovereignty, and facture indicate a scholarly embrace of a more conscientious, inclusive approach to bodies and things as they move throughout the world and time. It also compels a closer examination of this prevalent, yet elusive , concept by emerging scholars in the field. In our call for the first thematic edition of Contemporaneity: Historical Presence in Visual Culture, we asked scholars to put the concept of agency into motion. True to our broadest interpretation of “agency,” we have invited scholars working through this concept across disciplines to suggest, demonstrate, and provoke in their terms how agency can be brought to bear on visual culture. While we expected a variety of approaches from our contributors, we were thrilled with the many registers across which agency resonated for scholars of photography, performance, and film, including curatorial and pedagogical perspectives. Here, the reader will find a prismatic approach to agency, rather than a universal definition. We do not discredit its previous uses, nor do we police its borders. Instead—and as we hoped a thematic issue would convene—this edition is the res ult o f conversations that naturally arose among, between, and because of the articles. Ingrid Nordgaard and Elizabeth Hawley consider how artists recover the agency of subjugated or suffering individuals through intertwined photographic and performative practice s. Hawley examines the performance piece Take a Picture with a Real Indian in which Luiseño artist James Luna pivots from the historic tensions between the agencies of photographers and Native American subjects, and turns the tourist and museum-goer’s cameras on himself. In her examination of pain and performance in post-Soviet Ukraine and contemporary Russia, Nordgaard suggests the photograph is an extension of the subjects’ embodied agency, a means of owning, recasting, then sharing their suffering through performance and photographic distribution. Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 5, N o 1 “A gency in Motion” (2 0 16) | I SSN 2155-1162 (online) | DOI 10.5195/contemp.2016.185 2 Nicole F. Scalissi and Annika Johnson Photography turned out to be the key “medium” through which contributors mobilize d questions of agency in this edition, perhaps indicating a broader trend in agency scholarship. The language around photography—expose, capture, pose, shoot, reproduce, take, sell, document, discover, bare, etc.—proposes opposition, transaction, and the dynamism of relationships that for a moment cluster around the camera and continue to shuffle throughout a photograph’s afterlife. Trevor Paglen’s photographs of top secret gove rnme nt sites expose the limits of our knowledge and rub up against the aesthetics of abstraction. Yet, as Gary Kafer proposes, it is Paglen’s practice of telephotography in remote locations in which the artist exercises political agency. As illuminated by Annemarie Iker, art historian Georgiana Goddard King enlisted photography to envisage Spanish medieva l architecture through the eyes of religious pilgrims and her own—an innovative and experiential approach to architecture history. Jodi Kovach examines Cuban artist Carlos Garaicoa’s drawing- photograph diptychs, finding a dialogue in and through multiple frames of temporality in Garaicoa’s reimagining of lost architectural sites and his delicate layering of the past and present—opening up new beginnings through temporal disarray. A special section on curatorial agency addresses how curators might enliven art objects and engage viewers with their many pasts and embodied cultural knowledges. They invite a practice that sets objects and the viewing public into motion, challenging traditional notions of curatorship through unexpected collaboration. Erin Peters factors museum visitors into the mix of exhibition-related agents: curators must recognize their capacity to co-create, which requests a fundamental readjustment of how specialist knowledge factors into the display of objects and their reception. In the criticism section, Loretta Ramirez and Carlos Kong parallel this proposal, both pursuing an expanded agency of the viewer in their reviews of two recent exhibitions. Ramirez reviews David Lamelas's The Desert P e o ple (Hammer Museum, Los Angeles, 2016) and thinks through the relevance and role of authenticity in the performance of cultural identity. Kong asserts the necessity of subversion and a truly “queer” queerness in his assessment of SuperQueeroes — Our LGBTI* Comic Book Heroes and Heroines (Schwules Museum*, Berlin, 2016). Curators of Aboriginal Australian art Henry Skerritt and Stephen Gilchrist discuss “Indigenizing” the museum, which for Gilchrist “is about doing; manifesting, instantiating, and running our own race on our own terms.” When asked to assess audience r e c ep ti on o f the Indigenized museum, Gilchrist hesitates: “It’s so hard to be objective .” This giv es us pause: is "objectivity," with all its associations to Western Ethics, History, and Science, the only means to produce knowledge? Or, might there be an approach to agency that makes room for the subjective, affective, fleshy reality of the scholar? C an the re be a way to at once express agency, with its rich texture of subjectivity, and still contribute meaningfully to an understanding of the world and its inhabitants? Or, as Skerritt simply put it: “We ll y ou don’t have to be objective.” This serves as a reminder to practitioners of art history of our potential to act in new ways, as well as the power invested in our scholarly actions. An activation of professional agency is the power to challenge silos and re-district disciplines, to invest or restore real agency to underrepresented communities or regions, makers and viewers, and objects themselves. We encourage our readers to formulate their own questions and share them with us through submissions, letters to the editors, and social media. Agency in Motion was a collaborative effort. Our authors, editors, and interview subjects generated and shaped exceptional content. Artists, archivists, peer reviewers, and galle ries engaged with contributors at all levels to bring their material to light. Th e hard work and support of our coeditors in chief Meredith North and Ben Ogrodnik, our editorial board, advisory board, and intern Victoria Sterling; the generous contributions of donors in our 2016 EngagePitt fundraising campaign; and the intellectual community housed in the Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 5, N o 1 “A gency in Motion” (2 0 16) | I SSN 2155-1162 (online) | DOI 10.5195/contemp.2016.185 3 Agency in Motion: Editorial Statement Department of History of Art and Architecture at the University of Pittsburgh have made this vision possible, and secure its future. We share with you below our first vision statement, which establishes Contemporaneity as a platform for scholars to develop and voice their ideas through a rigorous and constructive editorial process. As we continue to diversify our content and perspective s across traditional divides of discipline, historical eras, and media, we seek to produce points of connection among different fields in a shared effort to better understand the world through its visual registrations. Nicole F. Scalissi, Coeditor in Chief PhD Candidate, History of Art and Architecture, University of Pittsburgh Arts & Sciences Fellow, University of Pittsburgh Annika Johnson, Coeditor in Chief PhD Candidate, History of Art and Architecture, University of Pittsburgh Predoctoral Fellow, Smithsonian American Art Museum Vision Statement Contemporaneity is an open access journal that publishes scholarly and artistic explorations of how the complexities of being in the world have found visual form throughout time. Editorial leadership is based in the department of the History of Art & Architecture at the University of Pittsburgh where the journal is enriched by its innovative constellations program. We publish question-driven research that resonates across disciplines, interrogating diverse visual material from across time using multiple methods. Our editorial board seeks to: ñ Adhere to high publishing standards that preserve the integrity of scholarship ñ Bring junior
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