DOCSLIB.ORG

Done NEW VANESSA THESIS 0502.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Done NEW VANESSA THESIS 0502.Indd On Curating, Online : Buying Time in the Middle of Nowhere Aalto University, P.O. BOX 11000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract Author Vanessa Kowalski Title of thesis On Curating, Online: Buying Time in the Middle of Nowhere Department Department of Arts Degree programme Curating, Managing, and Mediating Art (CuMMA) Year 2018 Number of pages 173 Language English Abstract The invention of the Internet and its related accessories, as untrodden territory and as a medium, have ushered in a new era of artistic creation and curatorial practice, new frontiers for political censorship, and have drastically altered the paradigm of information transmission. The Web, although certainly a powerful social tool, has seeped so deeply into the foundations of everyday life that it has collapsed understandings of the present in exchange for a constantly refreshing sequence of now’s, and cultural institutions are struggling to ‘keep up with the times.’ Operating under the pressure of a capitalist system that privileges celebrity status, production, Vanessa Kowalski and modernity as progress, curators are ceaselessly inundated with an overwhelming amount of resources, struggling to dissect and interpret the present moment because the future has already ‘On Curating, Online: been deemed impatient. What would it mean then if cultural workers were to slow down, and Buying Time in the Middle of here’ reimagine progress not as linear procession but as collective expansion? Now This dissertation looks at the ways in which alternative approaches to exhibition Master’s Thesis making andOn Curating, Online: Buying Time in the Middle of Nowhere curating, specifically those taking place online, have long attempted to address the inadequacies and discriminatory practices traditionally upheld by major institutional models. Curating, Managing, and Mediating Art While the speed and omnipresence of digital technologies has also cultivated a tendency for the School of Arts, Design and Architecture creation of easily digestible content, slow curating, when used as a curatorial method rather than as a rate of dissemination, can serve as a strategy of resistance against the dueling binaries of Aalto University past and future from a position that generously expands the middle of now by engaging in Helsinki situated active thinking and critical reflection. Through an exploration of the evolution of the field of contemporary art alongside that of the Internet, this thesis presents examples of smaller Finland scale institutions currently publishing and exhibiting artworks online that exemplify slow curating strategies. Through an analysis of the ways in which these platforms are designed, 2018 accessed, and address their audiences, a series of three case studies center around online publisher Triple Canopy, dis.art, a Netflix like viewing platform, and the digital library Monoskop, in order to illustrate the diverse range of possibilities as well as the inherent Thesis Supervisor: Nora Sternfeld problematics of technology that cultural workers face when utilizing digital media to create External Advisor: Annet Dekker spaces for the exhibition of artworks, literature, and ideas. Art and its associated movements such as conceptual art, feminist art, and modernism have already shown that while art is often thought to operate on the margins, it has the capacity to spark societal and political transformations—and despite the imposing restrictions of surveillance and control, surely art online makes for no exception. When subordination and emancipation can be achieved by the same tools, simply having the tools is not enough, and any reconfiguration of the conflict depends not only on how they are used, but by whom. 3 2 Keywords curating, online, contemporary art, Internet, digital publishing, exhibitions, archives, slow curating Graphic Design by Bryan Fountain. Cover Image by Joshua Mathews. Fonts graciously provided by Peter Korsman/ Autograph. Printed in Helsinki on sustainably sourced papers. Please circulate or recycle this publication. 5 4 To my supportive and insightful advisors, Nora Sternfeld & Annet Dekker. To my colleagues and classmates. To those who have contributed their works, ideas, and care throughout this process and beyond it. To those who have been with me across time zones. To Finland. To my family & b. To you and your time. I am endlessly thankful to share the middle of now with you all. 7 6 ABSTRACTlooks at the ways in which digital library Monoskop, in The invention of the Internet alternative approaches to order to illustrate the diverse and its related accessories, exhibition making and curating, range of possibilities as well as untrodden territory and specifically those taking place as the inherent problematics as a medium, have ushered online, have long attempted of technology that cultural in a new era of artistic to address the inadequacies workers face when utilizing creation and curatorial and discriminatory practices digital media to create spaces practice, new frontiers for traditionally upheld by major for the exhibition of artworks, political censorship, and institutional models. While the literature, and ideas. have drastically altered the speed and omnipresence of Art and its associated paradigm of information digital technologies has also movements such as transmission. The Web, cultivated a tendency for the conceptual art, feminist art, although certainly a powerful creation of easily digestible and modernism have already social tool, has seeped so content, slow curating, shown that while art is often deeply into the foundations when used as a curatorial thought to operate on the of everyday life that it has method rather than as a rate margins, it has the capacity collapsed understandings of dissemination, can serve to spark societal and political of the present in exchange as a strategy of resistance transformations—and despite for a constantly refreshing against the dueling binaries the imposing restrictions sequence of now’s, and of past and future from a of surveillance and control, cultural institutions are position that generously surely art online makes for no struggling to ‘keep up with the expands the middle of now exception. When subordination times.’ Operating under the by engaging in situated active and emancipation can be pressure of a capitalist system thinking and critical reflection. achieved by the same tools, that privileges celebrity status, Through an exploration of simply having the tools production, and modernity the evolution of the field of is not enough, and any as progress, curators are contemporary art alongside reconfiguration of the conflict ceaselessly inundated with that of the Internet, this thesis depends not only on how they an overwhelming amount presents examples of smaller are used, but by whom. of resources, struggling to scale institutions currently dissect and interpret the publishing and exhibiting present moment because artworks online that exemplify the future has already been slow curating strategies. deemed impatient. Through an analysis of the What would it mean then if ways in which these platforms cultural workers were to slow are designed, accessed, and down, and reimagine address their audiences, a progress not as linear series of three case studies procession but as collective center around online publisher expansion? Triple Canopy, dis.art, a Netflix This dissertation like viewing platform, and the 9 8 TABLE OF CONTENTS P.12 SITUATING THE RESEARCH P.98 SLOWING DOWN THE INTERNET • The Future is Hypertextual • I Link Therefore I am • Success (in Progress) • Digital Naïve • Rethinking Success as Slowness • Why Now and What Can Art Do? • Case Studies: Triple Canopy, dis.art, and Monoskop • The Medium is the Methodology • Triple Canopy • Questions & Case Studies • On Transparency • CanopyCanopyCanopy P.38 KEYWORDS AND FRAMEWORK OF THE NETWORK •Toward Visibility • dis.art • Who Cares? • End of the Line(ar) Timeline • On Curating, Online • Distorting And Disarming: Dissent on Display • Where is Care? • Monoskop • Exhibiting Online • Unpacking My Digital Library • World Wide Web? • The Crisis of Connectivity: Content • World Within Worlds • Better Off Online P.139 CONCLUSION • Platforms • Public Cyberspace P.149 CITATIONS • In the Public I P.169 IMAGE INDEX P.84 IN THE MIDDLE OF NOWHERE TOGETHER • Being Singular Plural: Sharing vs. Pseudo-sharing • Buying Time in the Middle of Nowhere 11 10 Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research 1 Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research Situating the Research THE FUTURE IS of objective knowledge. There on paper back in 1843. attention. Perhaps the near Situating the Research HYPERTEXTUAL is space to be found here Citing the writing future is female and sold on an In an attempt to resist the between the teeth of traditional of several female-identifying overpriced t-shirt at The Wing,4 traditionally accepted linearity discourse when one acknowl- authors and the ways in which but it should be radically re- of research,
Load more

Recommended publications
  • RADICAL ARCHIVES Presented by the Asian/Pacific/American Institute at NYU Curated by Mariam Ghani and Chitra Ganesh
    a/p/a RADICAL ARCHIVES presented by the Asian/Pacific/American Institute at NYU curated by Mariam Ghani and Chitra Ganesh Friday, April 11 – Saturday, April 12, 2014 radicalarchives.net Co-sponsored by Asia Art Archive, Hemispheric Institute, NYU History Department, NYU Moving Image Archive Program, and NYU Archives and Public History Program. Access the Internet with NYU WiFi SSID nyuguest login guest2 password erspasta RADICAL ARCHIVES is a two-day conference organized around the notion of archiving as a radical practice, including: archives of radical politics and practices; archives that are radical in form or function; moments or contexts in which archiving in itself becomes a radical act; and considerations of how archives can be active in the present, as well as documents of the past and scripts for the future. The conference is organized around four threads of radical archival practice: Archive and Affect, or the embodied archive; Archiving Around Absence, or reading for the shadows; Archives and Ethics, or stealing from and for archives; and Archive as Constellation, or archive as method, medium, and interface. Advisory Committee Diana Taylor John Kuo Wei Tchen Peter Wosh Performances curated Helaine Gawlica (Hemispheric Institute) with assistance from Marlène Ramírez-Cancio (Hemispheric Institute) RADICAL ARCHIVES SITE MAP Friday, April 11 – Saturday, April 12 KEY 1 NYU Cantor Film Center 36 E. 8th St Restaurants Coffee & Tea 2 Asian/Pacific/American Institute at NYU 8 Washington Mews Cafetasia Cafe Nadery Oren’s 3 NYU Bobst
    [Show full text]
  • Course Reader
    Media Studies: Archives & Repertoires Mariam Ghani / Spring 2016 COURSE READER • Michel Foucault, “The historical a priori and the archive” from The Archeology of Knowledge (1971) • Giorgio Agamben, “The Archive and Testimony” from Remnants of Auschwitz (1989) • Giorgio Agamben, “The Witness” from Remnants of Auschwitz (1989) • Mariam Ghani, “Field notes for 'What we left unfnished': The Artist and the Archive” (Ibraaz, 2014) * recommended • Jacques Derrida, “Archive Fever: A Freudian Impression” (Diacritics, 1995) • Alan Sekula, “The Body and the Archive” (October, 1986) • Walter Benjamin, “Theses on the Philosophy of History” (1937) • Alan Sekula, “Reading an Archive” from The Photography Reader (1983) *recommended • Hal Foster, “An Archival Impulse” (October, 2007) *recommended • Okwui Enwezor, “Archive Fever: Photography Between History & the Monument” (2007) * recommended • Matthew Reason, “Archive or Memory? The Detritus of Live Performance” (New Theatre Quarterly, 2003) • Xavier LeRoy, “500 Words” (Artforum, 2014) • “Bird of a Feather: Jennifer Monson's Live Dancing Archive” (Brooklyn Rail, 2014) • Gia Kourlas, “Q&A with Sarah Michelson” (Time Out NY, 2014) • Gillian Young, “Trusting Clifford Owens: Anthology at MoMA/PS1” (E-misférica, 2012) • “The Body as Object of Interference: Q&A with Jeff Kolar” (Rhizome, 2014) *rec • Anthology roundtable from the Radical Presence catalogue (2015) *rec • Pad.ma, “10 Theses on the Archive” (2010) • Ann Cvetkovich, “The Queer Art of the Counter-Archive” from Cruising the Archive (2014) • Diana
    [Show full text]
  • ONCURATING.Org N
    ONN CURATING.org Issue 26 / October 2015 Notes on Curating, freely distributed, non-commercial Curating Degree Zero Archive: Curatorial Research With Contributions by Felix Ensslin Sabeth Buchmann Sergio Edelzstein Elke Krasny Avi Feldman Brian Holmes Ellen Blumenstein Dorothee Richter & Barnaby Drabble (eds.) Contents 02 86 Editorial “Something that has to do with life itself” Curating Degree Zero Archive: World of Matter and the Radical Imaginary Curatorial Research Brian Holmes Dorothee Richter and Barnaby Drabble 93 08 The Curator and Her Double. The Cruelty of Curating Degree Zero Archive 2003–2008 the Avatar Ellen Blumenstein 17 The Subject of Curating – Notes on the Path 101 towards a Cultural Clinic of the Present Thinking About Curatorial Education Felix Ensslin Dorothee Richter 32 110 Curating with/in the System Imprint Sabeth Buchmann 40 Are Boycotts the New “Collective Curating?” Sergio Edelsztein 51 Feminist Thought and Curating: On Method Elke Krasny 70 Performing Justice – From Dada’s Trial to Yael Bartana’s JRMiP Congress Avi Feldman Editorial Curating Degree Zero Archive: Curatorial Research Curating Degree Zero Archive. Curatorial Research Dorothee Richter & Barnaby Drabble When we started a discourse on curating in 1998 with the conference “Curating Degree Zero,” we could not have imagined the intensity of interest in this subject in the coming years. In 2003 we wanted to re-examine the field together with Annette Schindler, but when we failed to organise enough funds, we changed the concept and concentrated on the archive, which originally should have just accompanied the symposium. This decision, half by chance and half out of a deeply felt interest in archival practices, proved to be valid, insofar that the archive grew and developed rapidly.
    [Show full text]
  • Gender, Mobility and Self: Afghan Women in Vancouver, British Columbia
    GENDER, MOBILITY AND SELF: AFGHAN WOMEN IN VANCOUVER, BRITISH COLUMBIA by CHRISTINA W. O’BRYAN A DISSERTATION Presented to the Department of Anthropology and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2014 DISSERTATION APPROVAL PAGE Student: Christina W. O’Bryan Title: Gender, Mobility and Self: Afghan Women in Vancouver, British Columbia This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Anthropology by: Lynn Stephen, Ph.D. Chairperson Lamia Karim, Ph.D. Core Member Diane Baxter, Ph.D. Core Member Susan Hardwick, Ph.D. Institutional Representative and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2014 ii © 2014 Christina W. O’Bryan iii DISSERTATION ABSTRACT Christina W. O’Bryan Doctor of Philosophy Department of Anthropology September 2014 Title: Gender, Mobility and Self: Afghan Women in Vancouver, British Columbia In this study of Afghan women and the relationship of identity to gendered mobility, I found that the Afghan women in this study were affected by prevailing ideologies which recognized them as refugees no matter how long they had lived in Canada. In this dissertation, I assert that the category of refugee haunts discussions of class, the creation and continuation of a sewing cooperative, and veiling--so much so that in each category, the gendered role of Afghan refugee woman is not only attached to these Afghan women but they must also reinscribe it repeatedly in order to receive services and participate in other community activities and structures.
    [Show full text]
  • Afghanistan: a Lexicon Amanullah Mariam Amanullah Ruled Afghanistan from 1919 to 1929, First As Amir and Then, After He Changed His Own Title, As King
    Nº029 Mariam & Ashraf Ghani 100 Notes – 100 Thoughts / 100 Notizen – 100 Gedanken | Nº029 Mariam & Ashraf Ghani Afghanistan: A Lexicon Amanullah Mariam Amanullah ruled Afghanistan from 1919 to 1929, first as amir and then, after he changed his own title, as king. During his brief reign, Amanullah launched an ambitious program of modernization from above, which was cut off prematurely by a revolt from below. After inheriting autocratic power built through immense repression by his & Ashraf Ghani grandfather Abdur Rahman, who had reigned from 1880 to 1901, and his father, Habibullah, who had ruled from 1901 to 1919, he at- tempted to turn that power toward transforming the organization of both state and society. His many reforms included promulgating rule Afghanistan: of law through Afghanistan’s first constitution and the wide-ranging regulations of the nizamnamah; investing in education through liter- acy programs, study abroad, and the building of primary, secondary, and technical schools; promoting unveiling and the end of purdah A Lexicon* (the separation of women from society); encouraging intellectual exchange by fostering an active press, literary societies, and archaeo- logical missions; transforming the traditional institution of the Loya Jirga, or Grand Council, into a mechanism for public consultation; (*selective; associative; may include myth, winning Afghanistan’s independence from Britain, and forging new speculation, and rumor as well as facts) relationships with Europe and the Soviet Union; and large-scale ur- ban planning, represented in theory by the regulations for Laghman, Paghman, and Dar ul-Aman and in practice by the partial comple- tion of the “new city” of Dar ul-Aman, just to the west of Kabul.
    [Show full text]
  • Post-9/11 Representations of Arab Men by Arab American Women Writers: Affirmation and Resistance
    Post - 9/11 Representations of Arab Men by Arab American Women Writers: Affirmation and R esistance Marta Bosch Vilarrubias ADVERTIMENT . La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX ( www.tdx.cat ) i a través del Dipòsit Digital de la UB ( diposit.ub.edu ) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposici ó des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB . No s’autori tza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA . La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR ( www.tdx.cat ) y a través del Repositorio Di gital de la UB ( diposit.ub.edu ) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB .
    [Show full text]
  • A Fragile Inheritance: Radical Stakes in Contemporary Indian
    A FrAgile inheritAnce This page intentionally left blank Saloni Mathur A FrAgile inheritAnce Radical Stakes in Contemporary Indian Art Duke univerSity PreSS · DurhaM anD lonDon · 2019 © 2019 Duke univerSity PreSS This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/us/. Printed in the United States of America on acid- free paper ♾ Designed by Matthew Tauch Typeset in Quadraat Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data Names: Mathur, Saloni, author. Title: A fragile inheritance : radical stakes in contemporary Indian art / Saloni Mathur. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identifiers: lccn 2019006362 (print) | lccn 2019009378 (ebook) iSbn 9781478003380 (ebook) iSbn 9781478001867 (hardcover : alk. paper) iSbn 9781478003014 (pbk. : alk. paper) Subjects: lcSh: Art, Indic—20th century. | Art, Indic—21st century. | Art—Political aspects—India. | Sundaram, Vivan— Criticism and interpretation. | Kapur, Geeta, 1943—Criticism and interpretation. Classification: lcc n7304 (ebook) | lcc n7304 .M384 2019 (print) | DDc 709.54/0904—dc23 lc record available at https://lccn.loc.gov/2019006362 Cover art: Vivan Sundaram, Soldier of Babylon I, 1991, diptych made with engine oil and charcoal on paper. Courtesy of the artist. Duke University Press gratefully acknowledges the ucla Academic Senate, the ucla Center for the Study of Women, and the ucla Dean of Humanities for providing funds toward the publication of this book. This title is freely available in an open access edition thanks to the toMe initiative and the generous support of Arcadia, a charitable fund of Lisbet Rausing and Peter Baldwin, and of the ucla Library.
    [Show full text]
  • Mariam Ghani
    Revealing the Unseen: Mariam Ghani Words: David Alm Photo: Chris Jones Even the most humanistic political artists can lose sight of the personal when dealing with the abstract. Mariam Ghani is the exception. Heady and compelling, the Brooklyn artist's film, installation and Web projects address timely issues like immigration, diaspora and the reconstruction of her father?s native Afghanistan (her mother is Lebanese). Her open-ended, Web-based work, How Do You See the Disappeared?, presents what she calls "warm data," the unquantifiable pieces of information that define a human being, on émigrés seeking political asylum in the U.S. Through questions like "Who was your first love?" and "What do you see when you close your eyes?" Ghani develops abstract yet intimate portraits that privilege subjectivity and experience over hard facts. Thus her subjects' humanity transcends the "cold data" that otherwise define them within legal and bureaucratic systems. At 26, Ghani is rising fast in the New York art world, surprisingly for someone who once planned on teaching comparative literature. After graduating from NYU, Ghani changed course to study video art and film at SVA, receiving her MFA in 2002. Since then she has shown in some of New York's preeminent galleries, film venues and museums; last year she was an artist- in-residence at Eyebeam, where she begins teaching this summer. Ghani's academic training gives her an intellectual breadth rare in young artists. "I still have a very literary approach," she notes, citing the influence of late theorist Edward Said -- particularly his notion of contrapuntal narratives.
    [Show full text]
  • MARIAM GHANI B. 1978 New York, NY Lives and Works in Brooklyn, NY
    MARIAM GHANI b. 1978 New York, NY Lives and works in Brooklyn, NY Education 2002 MFA, School of Visual Arts 2000 BA, New York University Solo Exhibitions & Collaborative Presentations 2020 When the Spirits Moved Them, They Moved, in collaboration with Erin Ellen Kelly, Speed Art Museum, Louisville, KY What We Left Unfinished, Blaffer Museum of Art, University of Houston, TX 2019 When the Spirits Moved Them, They Moved, in collaboration with Erin Ellen Kelly, RYAN LEE, New York, US 2018 Mariam Ghani: Reconstructions and Speculations, Milstein Hall Dome, Cornell University, Ithaca, NY, US When the Spirits Moved Them, They Moved, in collaboration with Erin Ellen Kelly, Hancock Shaker Village, MA, US 2016 The City & The City, RYAN LEE, New York, US The Garden of Forked Tongues, in conjunction with Nonstop Metropolis, Queens Museum of Art, New York, US Mariam Ghani & Erin Ellen Kelly: Water, Land, City, curated by Tricia Paik, Indianapolis Museum of Art, Indianapolis, Indiana, US 2015 What we left unfinished, 1after320, New Delhia, IN Currents 110: Mariam Ghani, The City & The City, St. Louis Art Museum, St. Louis, Missouri, US Like Water from a Stone, RYAN LEE, New York, US 2014 Under Siege: Mariam Ghani & Omer Fast, curated by Chus Martinez. CCCB, Barcelona, ES Going, Going, Gone, RLWindow, RYAN LEE, New York, US Mariam Ghani & Erin Ellen Kelly: It Could Go Either Way, Rogaland Kunstsenter, Stavanger, NO Index of the Disappeared: Watch This Space, Kimmel Center & Kevorkian Center, New York University, New York, US Index of the Disappeared: Secrets Told, A/P/A Institute, New York University, New York, US 2013 A Brief History of Collapses, Gatchina Museum, St.
    [Show full text]
  • Mirror Mirror
    WE HAVE TO CONFRONT OURSELVES. DO WE LIKE WHAT WE SEE IN THE MIRROR? AND, ACCORDING TO OUR LIGHT, ACCORDING TO OUR UNDERSTANDING, ACCORDING TO OUR COURAGE, WE WILL HAVE TO SAY YEA OR NAY – AND RISE! MAYA ANGELOU AMERICAN WRITER & CIVIL RIGHTS ACTIVIST (1928-2014) 1 PAUL ROBESON GALLERIES MAIN GALLERY, EXPRESS NEWARK THIS PUBLICATION IS DEDICATED TO POLIXENI PAPAPETROU, A GREAT FRIEND AND ARTIST. RUTGERS UNIVERSITY – NEWARK FEBRUARY 19 – DECEMBER 20, 2018 2 3 MIRROR MIRROR: HOW DO WE SEE THROUGH OUR BIGOTRIES MIRROR MIRROR by Chancellor Nancy Cantor and Senior Vice Chancellor Peter Englot by Dorothy Santos 6 47 I SEE YOU INDUSTRIAL PORTRAITURE, MEMORY, AND POWER by Express Newark Co-Directors Victor Davson and Anne Englot by Jay Stanely 9 49 ACKNOWLEDGMENTS FEMINIST PORTRAITURE: TWO SIDES OF THE MIRROR by Director and Chief Curator Anonda Bell by Anne Swartz 13 51 PAST NOW FOREVER THE MANY AMBITIONS OF PORTRAITURE by Director and Chief Curator Anonda Bell by Jorge Daniel Veneciano 14 55 A PORTRAIT OF THE POSTFEMINIST PERFECT MOTHER THE REFLECTION OF A GENDERLESS SPIRIT by Susan Bright by Carla Christopher Waid 35 57 A REFLECTIVE PORTRAIT OF SHORT STATURE List of Artists by Amanda Cachia 63 43 Artist Pages RACE AND REPRESENTATION 64 by Nell Painter 45 Contents of the Exhibition 133 Sponsors and Copyright 138 Manuel Acevedo, Lawman’s Cigarette Break from the series The Wards of Newark 1982-87, 1986, gelatin silver print 4 5 MIRROR MIRROR: HOW DO WE SEE THIS IS WHERE ART, AS THE THE AS ART, WHERE IS THIS THROUGH OUR BIGOTRIES? THIS IS WHERE
    [Show full text]
  • Time Is a Feminist Medium: a Roundtable Discussion Urmila Seshagiri, Chitra Ganesh, Aditi Sriram, Kelly Tsai
    Time is a Feminist Medium: A Roundtable Discussion Urmila Seshagiri, Chitra Ganesh, Aditi Sriram, Kelly Tsai ASAP/Journal, Volume 3, Number 1, January 2018, pp. 13-39 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/asa.2018.0001 For additional information about this article https://muse.jhu.edu/article/686301 [ Access provided at 25 Aug 2021 17:08 GMT from Illinois @ Chicago, Univ Of ] Urmila Seshagiri, Chitra Ganesh, Aditi Sriram, and Kelly Tsai TIME IS A FEMINIST MEDIUM: A ROUNDTABLE DISCUSSION he shock of form-breaking newness, the familiarity of ancient patterns of knowledge: colliding temporalities animate feminist artworks by the visual artist CHITRA GANESH, the writer-storyteller TADITI SRIRAM KELLY TSAI , and the spoken-word poet . Time itself serves as a malleable, expressive medium for these artists, whose wide-ranging and globally lauded feminisms uphold an ethos of art-as-advocacy. GANESH’s oversized installation The Eyes of Time (2014), for example, features a three-breasted, clock-faced, six-armed goddess spread over a museum wall, counterposing the Hindu deity Kali’s cycles of creative-destructive energy against the impersonal time of industrial production (Fig. 1). SRIRAM’s collaborative performance piece The Girl with the Sideways Bun (2013) celebrates the transgressiveness of a village girl’s love for a god through playful alternations between contemporary spoken English and classical Tamil lyrics (Fig. 2). In TSai’s Say You Heard My Echo (2012), a New York City play-poem blending the words of female survivors of 9/11 with the speech of three female saints, lived history and pre- modern myth conjoin in a feminist vision of safety and solidarity (Fig.
    [Show full text]
  • Omenʼs Caucus
    W omenʼs W caucus f C o r A ART Artlines P.O. Box 1498, Canal Street Station, New York, NY 10013 Tel 212.634.0007 [email protected] Triannual Newsletter Spring 2007 Greetings from the President National Board Executive Committee Jennifer Colby, PhD Jennifer Colby, President We are in the midst of great celebrations and recognition for women in Kathy Halamka, Second VP the arts this spring. The opening of the Elizabeth Sackler Center for Margaret Lutze, Secretary/Treasurer Feminist Art at the Brooklyn Museum, featuring a permanent home for Barbara Wolanin, VP Chapter Relations the “Dinner Party” by Judy Chicago and the inaugural “Global Marilyn Hayes, President Elect Feminisms” exhibit, and the opening of “Wack! Art and the Feminist Officers Revolution” and “Multiple Vantage Points” in Los Angeles have given us an historical view of the impact of feminist art on the larger culture and Dena Muller, Past President on the art world. Kira Carillo Corser, VP for Development Patricia Rodriguez, VP for Org. Outreach Within this newsletter you will find reflections on these events and the Regional VPs WCA’s February 35th Anniversary activities in New York City. We were Laura Morrison, Northeast Region VP delighted to be a part of the ongoing work of The FeministArtProject, which sponsored a day of panels at CAA, organized by late art historian Judith Segall, Southeast Region VP Arlene Raven and WCA’s new Chair of the Lifetime Achievement Awards Selection Committee, Janice Nesser, Midwest Region VP Anne Swartz, and to co-host our Lifetime Achievement Awards with the CAA Committee on Position Open, Southwest Region VP Women in the Arts, combining the two awards ceremonies into one at the CAA annual conference Rebecca Kramer, Northwest Region VP in New York.
    [Show full text]