DOCSLIB.ORG

READ MORE TREBUCHET-MAGAZINE.COM Experienced Actor’S Perspective

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Increasing the range of art The flows and forms Edward Lucie-Smith of MutualArt on the Conceptualist and The body as a symbol for revolutionary impulse romantic photo-collagist psychic change provides insight into depiction Mothmeister | Stelarc | Louis Cole (Knower) | Bert Gilbert | Adam Dix | Katharine Dowson | Martha Parsey ISSUE 4 Ron Athey | Mike Laird | Andrew Litten | Damien Meade | Gail Olding | Sarah Sitkin | Nestor Pestana André Hemer, The Cobra Effect #8, Photograph by Ben Connell, courtesy of Kristin Hjellegjerde Gallery. Hjellegjerde Kristin of courtesy Connell, Ben by Photograph 2018 contents 66 CONTENTIOUS NUDES Edward Lucie-Smith on the revolutionary impulse 94 SUFFERING AND 12 AND TRANSHUMAN MUSIC ELECTRICITY agency explore and Michaela Davies James Sclavunos and transgression TRANSFORMATION The body as a symbol for psychic change A RICH BODY OF DATA OF BODY RICH A of MutualArt forms and The flows 138 38 118 JOHN STEZAKER AT LOREENA MCKENNITT: THE APPROACH FOLK ACTIVIST Conceptualist and romantic The Canadian Celtic diaspora and photo-collagist the New World online ARTISTS ON THE BODY 24 110 Mythological entropy Scars and revelations Mothmeister: Revelations behind Ron Athey: Personal explorations and 150 the mask. public displays. MODERN PATRONAGE 32 114 The inside edge of the Montblanc Progressive augmentation The depth of the vessel Cultural Foundation Stelarc: Engineering the interface Mike Laird: The inner limits of the human body 54 Keeping in the shape of rhythm 126 Louis Cole: From Knower to Solo Pain, wit and gesture Andrew Litten: Timeless models 56 of expression Alchemical transformations in soul and psyche 130 Bert Gilbert: Rites of passage, Mud and the body by-product skins of change Damien Meade: Making the artificial appear sentient 76 Hypnotic memories of the future 132 Adam Dix: Science fiction and new The poetry and potency dimensions in art. of presence Gail Olding: Emotional access 80 Lungs of coral, hearts of stone 146 Katharine Dowson: Internal beauty Sculpture and abstract sensation reflected in nature Sarah Sitkin: Bodies in decline, bodies at rest 86 Elegant geometry, structure 156 and violence Existing beyond the body Martha Parsey: Symbolic feminism Nestor Pestana: Speculative design and the revolt and the new human REGULARS 04 Contact & Credits 06 Editorial 08 Online digest 162 Subscriptions 4 44 Cover image: Publisher & Russell MacEwan, Editorial Director God Save The Trebuchet Kailas Elmer Queen. 2018 © R. MacEwan. Art Direction 2018. Image challenges Mark Halliwell courtesy of artist. Art Editors Printed in the UK. Michael Eden, entrenched Edward Winters Culture Editor views by Naila Scargill Music Editor Jed Saint bringing Web Editor Sean Keenan Advertising new creative Calanit Peretz Proofreaders Emma Horton, ideas to the Jayne Nelson Subscription and frontline of general enquiries office@trebuchet- magazine.com culture. Commercial enquiries sales@trebuchet- Something in me knows where I’m going, and — well, magazine.com While every effort has painting is a state of being. … Painting is self-discovery. been made to ensure Every good artist paints what he is. The publishers accuracy, Trebuchet would like Magazine does not - Jackson Pollock accept liability for any to thank: errors or omissions. Jason Colchin-Carter, Reprinting of any articles or images from Emma O’Hare, Trebuchet without the Russell MacEwan permission of Trebuchet Ltd is expressly forbidden © 2018. EDITOR’S NOTE the body masks There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate;’ -TS Eliot, The Love Song of J Alfred Prufrock. (1915) In this issue of Trebuchet we look at how a variety of artists have approached remaking the body: as a canvas, a template, and as a site of investigation and statement. The representation of humans within societies has been central to the discussion of who and what we are, asking where does the individual end and the social body start? Where do transgressions against the body move from an agent’s agency to a site of conspicuous controversy? Society is a compact in which each individual forgoes actions and behaviours (sometimes this is easy, sometimes hard) in order to exist comfortably within local and contemporary values. The representation of the body has been variously knotted with social values, from Hitler’s ‘degenerative’ assignation to Marshall McLuhan’s analysis of Cubism, where the medium of painting replaces the content. In both cases we are asked to read the body as a place of action, philosophy and normative association where what we are seeing is intellectually demonstrative rather than just photorealistically figurative. We are asked to look beyond the body’s physical attributes and into its being, as it appears to others and to ourselves. The hand, the eye, the neck and the mouth are all symbols imbued with intent. From Ron Athey’s visceral explorations of the body to Martha Parsey’s layered figures to Loreena © 2018 ofJ.Appleby courtesy 2018, McKennitt’s search for Celtic identity to the investigations of Stelarc, James Sclavunos and Michaela Davies into #2200418 transhumanism, the spectrum of work presented here provides cardinal directions from which we can evaluate the continuing fascination we have with our bodies. Jemma Appleby, Jemma Appleby, Lorem Lorem ipsum dolor as seen on online ART ED KIENHOLZ’ EARLY WORK Ed Kienholz is an assemblage artist, an installation artist, and a conceptual artist; which is to say that his work lies somewhere within that matrix. Showing at Blain|Southern, London, 2018. SOUND SOUND NO SPACE FOR THE MELTED ON MY CORTEX UNEXPECTED – XOR GATE “It is more progressive, more uplifting, The latest creative manifestation of more melancholic, more dynamic, there is Donald, one half of Detroit electro a greater emphasis on light and shade, it legends Drexciya and the main figure is heavier, it is more delicate, it has more behind the projects Dopplereffekt, beauty, it has more darkness” Arpanet, Der Zyklus and more. SOCIETY THE PASSION OF WU YONGNING The final tragic dance of Chinese rooftop artist Wu Yongning. ART ART POSTCARDS FROM THE LOST WHY BEING AN ARTIST IS GENERATION: PICASSO 1915-1925 NOT A JOB Review of ‘Pablo Picasso: between cubism Andy Warhol famously called his studio and classicism 1915-1925’ ed. Berggruen “The Factory” and employed assistants. and Von Liechtenstein. Surely this was a job? ART ANTI-ART REFLECTING A KNOWING SOCIETY ‘Anti Art’ is a reflection of the often ironic, self knowing stance of the artistic player who undermines conventions. SOCIETY SOCIETY ALL THE WORLD’S A STAGE: IAN EQUIVALENCE & THE LOSS OF MCKELLEN PLAYS HIS PART THE ENGAGED HUMAN Frank self-analysis offers some Postmodernity as a condition of being for fascinating insight into Ian McKellen’s those of us who inhabit the developed career trajectory; an essential watch for world in the later 20th and early 21st both fans and those interested in an century can be difficult to fully grasp. READ MORE TREBUCHET-MAGAZINE.COM experienced actor’s perspective. 10 Those who do not want to imitate anything, produce nothing - Salvador Dalí James Sclavunos & Michaela Davies explore agency and transgression Electricity and transhuman music STEPHEN O’MALLEY ON CENTRE POMPIDOU COMMISSIONS AND THE CAVES OF THE DORDOGNE. NIAGARA REVERB #07150 Fujiko Nakaya + KTL (Stephen O’Malley & Peter Rehberg) Alphorn accompaniment by Alponom, arrangement by Stephen O’Malley Sound spatialization by Manuel Poletti ManiFeste-2017 (the 40th anniversary of the Centre Pompidou and IRCAM), Paris Photography by Noriko Koshida © 2017 Trans-human music Trans-human Art Previous page: Photograph of Jim Sclavunos by Daniel Efram. Left: Attention is a scarce resource photo by Liam Loke, 2013. Courtesy of M.Davies Electrical Muscle Stimulation (EMS) The body is an electrical emitter, receiver and network Electrical muscle stimulation (EMS) is the elicitation of muscle contraction using electrical impulses. station. Interconnected points vibrate with pulse The impulses are delivered through electrodes messages; somewhere amongst the thought, signals and on the skin near to the muscles being stimulated. the noise of action there is some obscure deity called us. The impulses mimic the action potential that comes from the central nervous system, causing the muscles Music changes us; the electrical impulses coursing to contract. through our brains are changed when we make sense of auditory inputs. Sonic experimentation has long pushed the boundaries of what we consider recognisable as music. We’ve changed the setting, format, range, production, even the value of music as a cultural artefact,however, what has remained largely sacrosanct is the role of agency in the creation of music. Starting from a shared appreciation of the creative possibilities of Michaela Davies’ art-music explorations, Bad Seed James Sclavunos and the Australian avant- garde cellist explored how control might be exerted over musicians via EMS (electrical muscular stimulation). The resulting experimental productions marked the beginning of an exploration by the two artists into the role of the body in performance and whether physical agency and humanity are as closely tied together as most would expect. Speaking to Trebuchet, Sclavunos and Davies (via a less painful electronic medium) described the history of the project and where this visceral investigation
Recommended publications
  • Diminishing Connections Mary Jane King Clemson University, M.J King@Ymail.Com

    Diminishing Connections Mary Jane King Clemson University, M.J [email protected]

    Clemson University TigerPrints All Theses Theses 5-2016 Diminishing Connections Mary Jane King Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation King, Mary Jane, "Diminishing Connections" (2016). All Theses. 2369. https://tigerprints.clemson.edu/all_theses/2369 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. DIMINISHING CONNECTIONS ___________________________________________________ A Thesis Presented to the Graduate School Of Clemson University ___________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Visual Art ___________________________________________________ by Mary Jane King May 2016 ___________________________________________________ Accepted by: Professor Todd McDonald, Committee Chair Professor Kathleen Thum Professor Todd Anderson Dr. Andrea Feeser ABSTRACT I explore our skin’s durability as it protects our inner being, but its fragility in our death. Paint allows me to understand the physical quality of skin and the structure underneath it’s surface. We experience the world and one another through this outermost layer of our selves, providing the ability to feel touch and to establish corporeal bounds and connections. Skin provides a means of communication and interaction, of touch and intimacy. It contains, protects, and stretches with the growth of the body, adapting to the interior bodily demands. It is through this growth that there is also a regression or a slow decay of the body. In addition to exterior exploration, I also investigate the vitality of our viscera even when disease destroys it and claims our lives.
  • PRESS RELEASE Face Time: an Exhibition in Aid of the Art Room

    PRESS RELEASE Face Time: an Exhibition in Aid of the Art Room

    PRESS RELEASE Face Time: An exhibition in aid of The Art Room Threadneedle Space, Mall Galleries, London SW1 Monday 16 – Saturday 21 June 2014 10 am – 5 pm, Free Admission Over 60 works of art by international leading artists will be offered for sale in aid of The Art Room in Face Time, a week-long exhibition at the Threadneedle Space, Mall Galleries, London, SW1. Working in partnership with the Threadneedle Foundation, The Art Room, a national charity offering art as a therapeutic intervention to children and young people, have invited artists to contribute a clock or original piece of work for this important fundraising exhibition. Painters, sculptors, illustrators, architects and photographers have all contributed to Face Time and many have chosen to produce a clock face which reflects a key element of The Art Room’s methodology and practice. Face Time artists include: Emma Alcock ▪ Nicola Bayley ▪ Paul Benney ▪ Alison Berrett ▪ Tess Blenkinsop ▪ Anthony Browne ▪ Sarah Campbell ▪ Jake & Dinos Chapman ▪ Lauren Child ▪ Robert James Clarke ▪ Lara Cramsie ▪ Martin Creed ▪ Miranda Creswell ▪ Emma Faull ▪ Eleanor Fein ▪ Jennie Foley ▪ Antony Gormley ▪ Nicola Gresswell ▪ David Anthony Hall ▪ Maggi Hambling ▪ Kevin Harman ▪ The Art Room (Oxford) Oxford Spires Academy, Glanville Road, Oxford OX4 2AU (Registered Address) T 01865 779779 E [email protected] W www.theartroom.org.uk Founder Director Juli Beattie Chair Jonathan Lloyd Jones Patrons Micaela Boas, Anthony Browne, His Honour Judge Nicholas Browne QC, Dr Mina Fazel, MRCPsych
  • VIPAW Wall Texts

    VIPAW Wall Texts

    3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky.
  • FAÇADE: ZONE A: Religion/Family

    FAÇADE: ZONE A: Religion/Family

    CHECKLIST for Participant Inc. February 14-April 4, 2021 Curated by Amelia Jones Archival and research assistance by Ana Briz, David Frantz, Hannah Grossman, Dominic Johnson, Maddie Phinney *** UNLESS OTHERWISE NOTED ALL ITEMS ARE FROM THE RON ATHEY ARCHIVE*** ***NOTE: photographs are credited where authorship is known*** FAÇADE: Rear projection of “Esoterrorist” text by Genesis P’Orridge, edited and video mapped as a word virus, as projected in the final scene of Ron Athey’s Acephalous Monster, “Cephalophore: Entering the Forest,” 2018-19. Video graphics work by Studio Ouroboros, Berlin. ZONE A: Religion/Family This section of the exhibition features a key work expanding on Ron Athey’s family and religious upbringing as a would-be Pentacostal minister: his 2002 live multimedia performance installation Joyce, which is named after Athey’s mother. It also includes elements from Athey’s archive relating to Joyce—including two costumes from the live performance—and his life within and beyond his fundamentalist origin family (such as unpublished writings from his period of recovery in the 1980s, and the numerous flyers advertising fundamentalist revivals he attended). The section is organized around materials that evoke the mix of religiosity and dysfunctional (sexualized and incestuous) family dynamics Athey experienced as a child and wrote about in some of his autobiographical writings that are included in the catalogue, including Mary Magdalene Footwashing Set (1996), which was included in a group show at Western Project in Los Angeles in 2006 and in the Invisible Exports Gallery “Displaced Person” show in 2012, a former gallery just around the corner from Participant Inc.’s location.
  • October 08 to 15, 2011 Marco Bruzzone Colli

    October 08 to 15, 2011 Marco Bruzzone Colli

    October 08 to 15, 2011 Marco Bruzzone Colli Opening: October 08, 2011, 7pm Galleria collicaligreggi is proud to present the first solo show by Marco Bruzzone in Italy. Marco Bruzzone has lived for more than ten years in Berlin, where he works as an artist as well as curator, cook and DJ. His artistic practice is interdisciplinary – many of his works are of a transitory nature, such as a meeting or collaboration with other artists, and often become visible only at certain moments. In 2007, Bruzzone used stencils to spray the phrase “Less is cool“ on the wall just above the floor of the exhibition space (The importance not to be seen, Café Moskau/Galerie Isabella Bortolozzi, Berlin 2007). Instead of spray paint, however, he used spray glue. The statement first became legible over the course of time as dust collected in the room. Marco Bruzzone’s diverse works are unified by a sense of lightness and reduction, as well as a consistent rejection of grand artistic gestures. At galleria collicaligreggi the artist presents his new project Colli [engl. necks], which deals with the change of seasons from hot summer to autumn. In his installation of images, music, poetry and flowers, Bruzzone examines the shift from a time of leisurely distraction to the reality of everyday life. For the exhibition he stretched beach towels across frames like canvases: through their differing wear and tear and their printed or woven motifs they recall personal and collective memories. For some time now, Bruzzone has addressed issues of painting, examining its surface structures and forms of representation with unusual materials.
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975

    Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975

    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
  • Annual Report 2018/2019

    Annual Report 2018/2019

    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
  • Good Practice

    Good Practice

    GOOD PRACTICE Negotiating your practice £5.00 GOOD PRACTICE NEGOTIATING YOUR PRACTICE Edited Gillian Nicol CONTENTS Publisher Louise Wirz Design www.axisgraphicdesign.co.uk Introduction 3 © writers, artists and a-n The Artists Information Company 2006 The Bata-ville project 4 ISBN 0 907730 72 8 Published by Public art and compromise 6 a-n The Artists Information Company Registered in England Company No 1626331 Expectations and responsibilities 8 Registered address First Floor, 7-15 Pink Lane, Newcastle upon Tyne The artist-curator dynamic 9 NE1 5DW UK +44 (0) 191 241 8000 [email protected] Public commission 10 www.a-n.co.uk Copyright Critical context for practice 12 Individuals may copy this publication for the limited purpose of use in their business or professional Social spaces 13 practice. Organisations wishing to copy or use the publication for multiple purposes should contact the Publisher for permission. Negotiating a better rate of pay 14 a-n The Artists Information Company’s publications and programmes are enabled by artists who form Join a-n 15 our largest stakeholder group, contributing some £340K annually in subscription income, augmented by revenue funds from Arts Council England, and Publications 16 support for specific projects from Esmée Fairbairn Foundation. Anne Brodie, untitled, glass and white china clay, 2003. ‘Artists and Writers’ in Antarctica is a scheme that is jointly run by Arts Council England and the British Antarctic Survey. Anne Brodie will be one of two resident artists in Antarctica as part of this scheme from December 2006 – February 2007. “My work usually involves lots of hot glass, film and photography.
  • Fundraiser Catalogue As a Pdf Click Here

    Fundraiser Catalogue As a Pdf Click Here

    RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to
  • Detroit's Maritime Techno Underground

    Detroit's Maritime Techno Underground

    Detroit’s maritime techno underground. On the relationship between the 18th century pirates movement and concepts of social utopias, ideology, and cultural production in Detroit techno. A proseminar-paper for PS Cultural and Media Studies, course title: Pirates in (US-)American Culture, conducted by Mag.a Dr.in Alexandra Ganser, WS 2014/2015, by Christian Hessle, matriculation number: 9450392, e-mail: [email protected] due to 1 March 2015, 3676 words. 2 Table of Contents 1. Introduction...................................................................................................................3 2. Double consciousness....................................................................................................3 3. The black Atlantic..........................................................................................................4 4. The ancestors of Detroit techno: Funk, Fusion Jazz, and Afrofuturism........................5 5. The Belleville Three......................................................................................................6 6. The factory: from the ship to the city............................................................................6 7. Underground Resistance................................................................................................7 8. Drexciya.......................................................................................................................10 9. Conclusion...................................................................................................................12
  • Afrofuturism: the World of Black Sci-Fi and Fantasy Culture

    Afrofuturism: the World of Black Sci-Fi and Fantasy Culture

    AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISM Afrofuturism_half title and title.indd 1 5/22/13 3:53 PM Copyright © 2013 by Ytasha L. Womack All rights reserved First edition Published by Lawrence Hill Books, an imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-61374-796-4 Library of Congress Cataloging-in-Publication Data Womack, Ytasha. Afrofuturism : the world of black sci-fi and fantasy culture / Ytasha L. Womack. — First edition. pages cm Includes bibliographical references and index. ISBN 978-1-61374-796-4 (trade paper) 1. Science fiction—Social aspects. 2. African Americans—Race identity. 3. Science fiction films—Influence. 4. Futurologists. 5. African diaspora— Social conditions. I. Title. PN3433.5.W66 2013 809.3’8762093529—dc23 2013025755 Cover art and design: “Ioe Ostara” by John Jennings Cover layout: Jonathan Hahn Interior design: PerfecType, Nashville, TN Interior art: John Jennings and James Marshall (p. 187) Printed in the United States of America 5 4 3 2 1 I dedicate this book to Dr. Johnnie Colemon, the first Afrofuturist to inspire my journey. I dedicate this book to the legions of thinkers and futurists who envision a loving world. CONTENTS Acknowledgments .................................................................. ix Introduction ............................................................................ 1 1 Evolution of a Space Cadet ................................................ 3 2 A Human Fairy Tale Named Black ..................................
  • John Stezaker's Collages Using Black-And-White Film Photos and Old

    John Stezaker's Collages Using Black-And-White Film Photos and Old

    Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 Page: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 Keyword: Whitechapel Gallery Dillon, Brian, John Stezaker: What a carve up, The Guardian, 29 January 2011 John Stezaker’s collages using black-and-white fi lm photos and old postcards are nostalgic but also uncanny and absurd. As a career-spanning exhibition of his work opens at the Whitechapel Gallery, Brian Dillon pays tribute to a sly romantic What a Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 hPage: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 carveKeyword: Whitechapel Gallery up image might be used to make art, he English artist thus obviating the tedium of free- John Stezaker, hand drawing. But when he took the whose uncanny machine to his bedroom, he found collages are all he could squeeze on to a sheet of the subject of a paper was a corner of the picture: career-spanning Big Ben, a few turrets and a stretch exhibition at the of red sky. He tried painting over it in Whitechapel Gal- his best approximation of an “expres- lery, tells a revelatory tale about the sionist-psychedelic” style, but when T he turned off the projector the result origins of his luminous art. Stezaker was born in Worcester in 1949; when was “horrifi c”.