A Global State of Mind What You Need to Know About Diversifying Globally
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Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E
CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. -
Decolonial Aesthetics
8.50 CAD / USD ART / CULTURE / POLITICS / States of Coloniality Kency Cornejo p.24 / Leah Decter and Carla Taunton p.32/Sakahàn p.40 / Decter andCarlaTaunton Cornejop.24/Leah Kency Naufus Ramírez-Figueroa p.11 /DavidGarneaup.14 p.11 /JulieNagamp.22 Naufus Ramírez-Figueroa Berlin Reed p.4 / Miguel Rojas-Sotelo p.5 / Gordon Brent Ingramp.7/ Brent Berlin Reedp.4/MiguelRojas-Sotelop.5 /Gordon Heidi McKenzie p.8/DecolonialAestheticsManifesto p.10 HeidiMcKenzie / Jacqueline HoangNguyenp.49 isDayani Cristal? /Who p.50 Read-in p.43 / Time Lapsed p.46 / Border Cultures p.47 / p.47 Lapsedp.46 Cultures Read-in p.43 /Time /Border DECOLONIAL AESTHETICS Taghavi and Tannis andTannis Taghavi Hashemi, Maryam BONUS! Poster byGitaPoster Nielsen Artist’s FUSE MAGAZINE 36 – 4 FALL 2013 EDITORIAL EXPERIENCE STATES OF POST TORONTO COLONIALITY/ TRANSFORMED DECOLONIAL BY ARTISTS AESTHETICS OCTOBER 5 A i W 11 eiw 20 ei, les, SUNSET TO Forever Bicyc SUNRISE C This issue of FUSE was produced col- Decoloniality is cast, by Walter Mignolo and other h 1 r members of the Transnational Decolonial Institute, as the radical i 1 laboratively with the e-fagia organization. Based s 0 t other of modernity-coloniality. Throughout a diffuse and influential in 2 , in Toronto, e-fagia was founded in 2004 with the body of work, they write of a decoloniality of knowledge, being and e e One night only. I n r i v h mandate of promoting digital art, focusing on Latin aesthetics. Within this framework, decolonial aesthetics acknowl- in c g a edges and subverts the presence of colonial power and control in & M American and Canadian artists. -
Su-Ying Lee, TBD Exhibition Brochure, 2014
Museum of Contemporary Canadian Art September 6–October 26, 2014 Brew Pub Journal (Vancouver/Toronto) Jonah Brucker-Cohen (New York) Bill Burns (Toronto/Dawson City) 952 Queen Street West Toronto, Ontario, Canada M6J 1G8 Arabella Campbell (Vancouver) tel: 416 395 0067 ch+qs arquitectos (Madrid) email: [email protected] Tomas Chaffe (Stockholm) Gallery Hours: Tuesday–Sunday, 11 AM to 6 PM Michelle JaJa Chang (San Francisco) FREE ADMISSION courtesy of the RBC Foundation Steven Chodoriwsky (Los Angeles) Maggie Groat (St. Catherines) Exhibition Supporters Jesse Harris (Toronto) J.P. Bickell Foundation Justin Langlois (Vancouver) The Ouellette Family Foundation Donald Schmitt and Cheryl Atkinson Gordon Matta-Clark (American, b. June 22, 1943, d. August 27, 1978) Armstrong Fine Art Services Dax Morrison (Toronto) Paint the City Archer Pechawis (Toronto) Jon Sasaki (Toronto) Institutional Supporters Jeanne van Heeswijk (Rotterdam) and others Architecture program and consultation by Jennifer Davis an Ontario government agency un organisme du gouvernement de l’Ontario Curated by Su-Ying Lee Further reflecting on our own visibility, an archi- again begins to create the same effect. Few truly TBD Outdoor tectural intervention has been executed for this innovative solutions have been realized to allow all exhibition—a second doorway that was cut into parties to exist side by side. & Spatial the lobby wall. With this modification, pedestri- ans have a sightline from the sidewalk into the To Be Discussed; To Be Defined; To Interventions gallery. Previously, when entering the exhibition Be Deleted; To Be Decided; To Be space, visitors walked around the reception desk. Performances The new doorway allows visitors to enter directly Developed; To Be Destroyed; To Be TBD begins streetside as a response to observations into the main gallery. -