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Added by: Rossen Ventzislavov
Summary: Jones' essay offers a critique of philosophical and art-historical interpretation. Her main contention is that attributions of meaning in philosophical aesthetics and art criticism are traditionally a manner of top-down bestowal - i.e. artworks are rendered intelligible by certain pre-established and often institutionalized conceptual paradigms. In this, the often unstable meanings of art works themselves are not only inadvertently lost but often even intentionally stifled. To rehabilitate such meanings, and destabilize the homogenous discourses that try to contain them, Jones proposes a "feminist phenomenological approach… deeply invested in performing meaning." What this amounts to is a newfound sensitivity to all aspects of art - the performative, physical, contingent, messy, gendered, theatrical, emotional etc. - that have been systematically marginalized by philosophers and art critics since Kant. There is, according to Jones, an intractable economy of desire that absorbs artistic creation into the cumulative enterprise of human interaction and, instead of sweeping it under the rug for the sake of stability, philosophers and art critics should engage this economy on its own tentative terms.Demaria, Christina. The Performative Body of Marina Abramović Rerelating (in) Time and Space2004, The European Journal of Women's Studies 1(3): 295-307.-
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Added by: Rossen Ventzislavov
Abstract: Can a performance be analysed as a textual practice? Starting from this question, the article tries to describe the effets du sens (meaning effects) of some of the work of Marina Abramović, a Serbian performer and visual artist. From the 1970s, when the so-called body art emerged as a visual genre, offering the artist's body as a naked site of inscription, up to the present, when performing has become a more playful and direct transmission of energy between the doer and the viewer, the work of Abramović represents an effective and powerful example of the body-as-a-text in which subjectivity can be re-expressed and reinvented through the transformations of the relation between time and space. In the strong relationship created between the performer and the audience, what is enacted is a translation–transduction of material and cognitive meanings that results in a redefinition of a subjective and, simultaneously, collective experience of identity.Comment: This is a prime example of feminist aesthetics and its treatment of the human body. Demaria's main contention is that performance art can be understood textually and representationally even if it does not lay an explicit claim to either type of content. She agrees with Judith Butler's notion of citationality as a perpetual re-inscription of power norms and codes onto the human body. Since bodily presence plays such an important part in most performance art, the question of the possibility of embodied meaning arises naturally. Demaria uses the art of Marina Abramović to show that the question should be answered in the affirmative. Abramović's body exercises discursive transgressions (of language and code) in ways that, according to Demaria, establish a new language of dissent.
Abíódún, Rowland. Àkó-graphy: Òwò Portraits2013, in: John Peffer and Elisabeth L. Cameron (eds.), Portraiture & Photography in Africa, Bloomington and Indianapolis: Indiana University Press, pp. 287-312.-
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Added by: Hans Maes
Summary: Argues that the introduction of photography did not significantly interfere with, or terminate, the àkó legacy of portraiture. Shows instead that the stylistic elements of the àkó life-size burial effigy – a sculpted portrait that attempts to capture the physical likeness, identity, character, social status of a deceased parent – informed the photographic traditional formal portrait in Òwò, Nigeria.Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mamah, Carved, life-size, fully dressed second-burial effigy for Madam Aládé, EÌpelè- Òwò, Nigeria (1972)
Striking example of the practice. Demonstrates how the àkó tradition appears to have influenced the way elderly people posed for photographs. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mamah, Carved, life-size, fully dressed second-burial effigy for Madam Aládé, EÌpelè- Òwò, Nigeria (1972)
Striking example of the practice. Demonstrates how the àkó tradition appears to have influenced the way elderly people posed for photographs.
Muñoz, José Esteban. Performing Disidentifications1999, In: Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota. 1-34.-
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Added by: Rossen Ventzislavov
Summary: The concept of disidentification is Muñoz' way of capturing the subversion of the token identities assigned by dominant cultural discourse. While this subversion is a common everyday practice for most members of minoritized groups, Muñoz contends that it is in art where it could achieve the political weight that leads to social change. One of the examples Muñoz uses is of gay Latino artist Felix Gonzalez-Torres whose work resists the dominant "representational economy" - it is not explicitly inflected towards and/or recognizable within the traditional symbolic parameters of sexual or ethnic marginalization. In fact, Muñoz sees Gonzalez-Torres' art as exemplary of "tactical misrecognition," i.e. the intentional obfuscation of pre-constituted identification. Performance art is the most natural medium for such misrecognition.Comment: Best used in classes on sexual or ethnic marginalisation, and the social and political function of art, as well as on the social and political context of art.
Fusco, Coco. The Other History of Intercultural Performance1994, The Drama Review 38(1): 143-167.-
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Added by: Rossen Ventzislavov
Summary: Fusco's text chronicles the preparation, performance, and public reception of an artwork - "Two Undiscovered Amerindians" - she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art - from the Dadaists to the present day - captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the "Two Undiscovered Amerindians" project has travelled has plentifully confirmed the iniquities the two artists set out to expose.Comment: While not a philosophical text per se, this article is very helpful in discussions of the political dimension of the contemporary artworld, and the race dynamics within it.
Karlström, Anna. Authenticity2015, In Heritage Keywords, edited by Kathryn Lafrenz Samuels and Trinidad Rico. USA: University Press of Colorado.-
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Added by: Erich Hatala Matthes
Summary: This text offers a brief overview of some approaches to the concept of authenticity in international heritage management. Focusing on a case study of Buddhist sites in Laos, Karlström then argues that culturally specific understandings of authenticity pose problems for the universal application of a preservationist approach to heritage management. It concludes with some open-ended questions about how we should pursue alternative approaches.Comment: This is a good text for instructors who want to discuses authenticity in the context of a reasonably in-depth look at a particular non-Western cultural context. While the article itself is light on conceptual/ philosophical work, if offers useful material for philosophical analysis and discussion. It would pair well with the theoretical framework provided in Yuriko Saito's "Why Restore Works of Art?", or the alternative approach to authenticity captured in Carolyn Korsmeyer's "Real Old Things."
Root, Deborah. Fat-Eaters and Aesthetes: The Politics of Display1996, in Cannibal Culture: Art, Appropriation, and the Commodification of Difference. USA: Westview Press.-
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Added by: Erich Hatala Matthes
Summary: Root employs Méxica mythology as a lens for revealing the consumptive, and even cannibalistic, character of power. In particular, she points to the way colonial power sets up Westerners as "experts" and arbiters of art and culture, presenting appreciation of culture as a pretext for violence and control.Comment: This chapter serves as an introduction to Root's booklength study of these themes, so the presentation only gestures at these relationships and provides a brief selection of examples that illustrate them. However, if can be useful for raising initial questions about the relationships among power, art, and culture. It provides a counterpoint to a more sanguine perspective on cross-cultural appreciation expressed by Thomas Heyd in "Rock Art Aesthetics and Cultural Appropriation."
Todd, Loretta. Notes on Appropriation1990, Parallelogramme 16(1): 24-33.-
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Added by: Erich Hatala Matthes
Summary: Todd (Métis) situates contemporary acts of cultural appropriation in the colonial appropriation of indigenous land. She offers a normative definition of cultural appropriation according to which it is understood as the opposite of cultural autonomy. In the course of her discussion, she responds to a number of defenses of cultural appropriation that, she argues, fail to recognize the asymmetries of power in which appropriation from indigenous communities is embedded.Comment: This is an excellent text to use in order to present students with a conception of the wrong of cultural appropriation that is firmly rooted in the context of colonial power dynamics. It is short, and can be usefully compared and contrasted with the arguments presented by James O. Young in "Profound Offense and Cultural Appropriation.".
Steinbock, Eliza. Generative Negatives: Del LaGrace Volcano’s Herm Body Photographs2014, Transgender Studies Quarterly 1(4): 539-551.-
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Added by: Hans Maes
Summary: In conventional film photography, negatives are used in the darkroom to produce positive images, but in the outmoded medium Polaroid 665 the positive image is used to make a unique negative that can then be employed to make positive prints in the future. This generativity of the Polaroid 665 negative is used by the artist to mirror the complexity of feelings regarding intersex bodies. The series shows how negative affect can be productive and political, even when it appears to suspend agency.Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment.
Garland-Thomson, Rosemarie. Picturing People with Disabilities: classical portraiture as reconstructive narrative2010, in: Richard Sandell, Jocelyn Dodd, & Rosemarie Garland-Thomson, Re-presenting Disability: Activism and Agency in the Museum, London: Routledge, pp. 179-193.-
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Added by: Hans Maes
Summary: Provides a close reading of formal portraits of people with disabilities. Focuses on the fundamental elements of traditional portraiture: frame, pose, costume, likeness. Central argument: a conservative representational genre can act in the service of a progressive politics. Through framing, pose, costume, and likeness portraits accord dignity, authority, and symbolic capital to disabled subjects.Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Doug Auld, Shayla (2005) Portrait of a black woman with significant burn scars
Compared and contrasted with Gilbert Stuart's portrait of George Washington (1810).
Sasha Newley, Christopher Reeve (2004)
Juxtaposed with earlier iconic portraits of the 'man of steel'.
Marc Quinn, Alison Lapper Pregnant (2006)
Powerfully asserting that a woman with significant disabilities who is evidently sexual, about to become a mother, is worthy of being seen on the Fourth Plinth in Trafalgar Square. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Doug Auld, Shayla (2005) Portrait of a black woman with significant burn scars
Compared and contrasted with Gilbert Stuart's portrait of George Washington (1810).
Sasha Newley, Christopher Reeve (2004)
Juxtaposed with earlier iconic portraits of the 'man of steel'.
Marc Quinn, Alison Lapper Pregnant (2006)
Powerfully asserting that a woman with significant disabilities who is evidently sexual, about to become a mother, is worthy of being seen on the Fourth Plinth in Trafalgar Square.
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Jones, Amelia. Art History / Art Criticism: Performing Meaning
1999, In: Performing the Body / Performing the Text. Ed. Amelia Jones and Andrew Stephenson. New York: Routledge. 39-55.
Comment: Useful in classes on art interpretation. Can inspire great discussions when read together with (parts of) Kant's Critique of Judgment.