Lambert-Beatty, Claire. Twelve Miles: Boundaries of the New Art/Activism
2008, Signs: Journal of Women in Culture and Society 33(2): 309-327.
-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: Lambert-Beatty explores the limits of art activism through a detailed account of Rebecca Gomperts' Women on Waves project. Starting in 2001, Gomperts - a physician with a background in art - sailed a customized maritime gynecological clinic with a crew from the Netherlands to the coastal areas of countries where abortion had been outlawed. The clinic would dock far enough from the shore (twelve miles being the limit of states' naval jurisdictions) to offer healthcare to local women undisturbed. Lambert-Beatty notes that for all of its political import, the project retains a radical imagination of the poetic kind. Considering its enthusiastic reception by the international artworld, and inclusion in major art exhibitions, it is also clear that Gomperts intended the work at least partially as art. And, yet, Women on Waves challenges notions of the aesthetic as the "retreat from the real" that it is so often seen as. Lambert-Beatty sees the pragmatic aspect of the work as an integral part of its beauty, and vice versa. This symbiotic balance seems to resolve the tension Ranciere finds "between the logic of art that becomes life at the price of abolishing itself as art, and the logic of art that does politics on the explicit condition of not doing it at all."Goldberg, RoseLee. Identities: Feminism, Multiculturalism, Sexuality2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 128-145.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: Goldberg provides a richly illustrated historical account of the intimate connection between identity and performance art. Starting from the feminist art of the 1960's, the recognition and assertion of identity was a fundamental bid for social visibility. The next frontier was social recognition, which concerned ethnic and sexual minorities as much as it did women. The final frontier - political equality - is one that is still out of reach. Still, according to Goldberg, performance art continues to chart new territories of identification. In fact, while at the outset performance art used early feminist writing as inspiration, Goldberg recognizes a gradual reversal - today's feminists are as likely to chart new philosophical directions as they are to follow the exploratory charge of their performance art counterparts.Comment: This text provides a historical background on the relationship between identity politics and art. It would be useful in classes on performance art, on the social context of art, as well as classes focusing on philosophy or race, gender and sexuality and ways to achieve social visibility.
Crenshaw, Kimberlé. Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color1991, Stanford Law Review 43(6): 1241-1299.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: The concept of intersectionality is Crenshaw's rich contribution to our embattled understanding of identity politics. To illustrate the danger of traditional identity groupings, Crenshaw turns our attention to the complexity of inhabiting two such distinct categories at the same time as a black woman. While it is true that a black woman can hardly be considered essentially black (on account of the primacy of men of color over women of color) or essentially a woman (on account of the primacy of white women over non-white ones), intersectionality does not aim to dismantle these general categories altogether. Instead, it seeks to introduce an ethical and political pragmatics of identity. The way Crenshaw proposes this should be done in the case of black women is by treating the two inherent identity categories - black and female - conjunctively rather than disjunctively as it has always been done. The resulting approach promises to improve our sense of the reality of "social location" and is thus of great value to all agents and processes of social health and justice.Comment: Assigning this text is best in classes on women's rights and identity politics. It will be particularly useful in inspiring discussions on different types of discrimination affecting different groups, and the relations between them.
Goldberg, RoseLee. The Body: Ritual, Living Sculpture, Performed Photography2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 94-127.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: Goldberg sees the human body in performance art as a transmitter of erotics, gender tensions, cultural norms and political deviations. While two of the notable early works of performance art featured fully clothed male artists using naked female bodies (Yves Klein's Anthropometries of the Blue Period from 1960 and Piero Manzoni's Living Scupture from 1961), the work of female artists like Shigeko Kubota and Yoko Ono addressed the gender imbalance soon after. Goldberg sees the recognition of the body as "prime, raw material" as one of the central accomplishments of performance art. Through numerous examples she demonstrates how this notion enabled a spectrum of physical signification - from regarding the human body as a mere lump of undifferentiated flesh to capitalizing on its biological intricacies. Because of the irreducible intimacy of shared bodily experience, all creative choices along this spectrum - from the disquietingly erotic, to the anachronistically ritualistic, to the viscerally sacrificial - have affected the way we see art and the world around us.Comment: This historical overview of the use of the human body in early performance art can be in any class on body aesthetics or performance art, and can offer an interesting background reading on erotic art.
Doyle, Jennifer. Thinking Feeling: Criticism and Emotion2013, In: Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham: Duke University Press. 69-89.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: Doyle investigates the emotional dimensions of aesthetic experience in the context of controversial performance art practices. She focuses on sentimentality because it sits at the extreme end not only of the emotional spectrum but also, as a negative, on the art critical radar. Critics' charge against the sentimental is twofold - it enables vicarious experience at the expense of its direct counterpart and it gives a platform to the inauthentic. Furthermore, the overwhelming critical consensus is that the personal itself, manifested in sentimentality or otherwise, is inherently suspect. Emotion is thus framed as detrimental to "serious" art. It is also, and even more damagingly, feminized and drained of its political charge. To counter these assumptions, Doyle uses specific art-historical examples which reveal the richness and importance of emotional interest in the way art is made and experienced.Comment: This text can be used in discussions of emotion and affectivity. While much of its focus is on art, it can be used in more general classes on emotions as well.
Sigman, Jill. Self-Mutilation, Interpretation and Controversial Art2003, Midwest Studies in Philosophy 27(1): 88–114.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: Sigman studies outrage and offense in the art context. The first important observation she makes is that, often enough, the public's recoiling from a piece of art comes with the assumption that the object of offense is interpretatively transparent. This is because in the absence of art-historical or theoretical wherewithal, we default to pre-conceptual reactions - fear of otherness, loss of our ethical bearings, low self-esteem etc. Since most historical offense-based arguments against art have made a claim that the particular work is demeaning to the public, Sigman carefully lays out the features of demeaning treatment - a mostly intentional act that treats persons as less than persons, usually in an abusive manner. On this description, very few artworks could be considered demeaning. Furthermore, as Sigman shows in her art-historical contextualization of artist Stelarc's performance work Street Suspension, public outrage could be tempered and/or extinguished through attentive engagement with problematic artworks.Comment: This is a thought-provoking text which can provide good background for a debate on controversial art. It is quite easy to read and features examples which make it accessible for beginners classes on aesthetics, art interpretation, the value of art, and modern art in general.
Kristeva, Julia. Approaching Abjection1982, In: Powers of Horror: An Essay on Abjection, Columbia University Press, pp. 1-31.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: The abject - expressed through the grotesque, the gross and the physically challenging - has long been a source of innovation and scandal in the art world. For Kristeva abjection accounts for much of the complexity of the human condition. She understands abjection to encompass various aspects of our humanity that are often seen as conceptually and/or experientially disparate - emotion, embodiment, affect, repression, criminality, hygiene etc. Kristeva's guiding intuition is that the abject helps arbitrate between our perception of ourselves as subject and object. In the liminal space between the two, the "I" is experienced in its full heterogeneity to the frequent detriment of traditional ethical, aesthetic, and scientific considerations. This has direct bearing on performance art, whose history is marked by the deliberate departure from beauty and, concurrently, the constant renegotiation of identity between the extremes of subject and object.Comment: Best if read together with Sigmund Freud's "The Uncanny"
Goldberg, RoseLee. The Art of Ideas and the Media Generation2001, in: Performance Art: From Futurism to the Present. New York: Thames & Hudson. 152-155.-
Expand entry
-
Added by: Rossen Ventzislavov
Summary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.Comment: This text offers a historical note on the relationship between conceptual art and performance art, and could be used in aesthetics classes focusing on either of those arts
Sontag, Susan. Against Interpretation2009, Penguin Modern Classics-
Expand entry
-
Added by: Rossen Ventzislavov, Contributed by: Christy Mag Uidhir
Summary: Sontag mines the history of philosophical aesthetics and art criticism for the reasons why interpretation has held us under its spell for the last two millennia. One such reason is our insistence on the form/content dichotomy and the vestigial prioritizing of content in the way we talk about art. Another reason is the discursive, and thus political, control that interpretation enables. A third reason is our willingness to sacrifice our unmediated experience of an artwork, and our sensitivity to an artist's intentions, for the sake of interpretative success. To counter these "reactionary, impertinent, cowardly, stifling" tendencies, Sontag proposes an "erotics of art" - a new emphasis on transparence, which favors description and appreciation over interpretation. This critical ethos does not only change the terms of conceptual engagement; it also opens the gates for creative approaches to art which explicitly challenge vestigial modes of meaning-making and meaning extraction. Even though Sontag does not specifically single any of these approaches out, performance art is arguably the most extreme of the potential candidates.Comment: This text offers a seminal critique of art interpretation and should be included in any course discussing interpretation and criticism.
Nicholas, George P., Alison Wylie. ‘Do Not Do Unto Others…’ Cultural Misrecognition and the Harms of Appropriation in an Open-Source World2012, In Geoffrey Scarre & Robin Coningham (eds.), Appropriating the Past: Philosophical Perspectives on the Practice of Archaeology. Cambridge University Press. pp. 195-221.-
Expand entry
-
Added by: Erich Hatala Matthes
Abstract: In this chapter we explore two important questions that we believe should be central to any discussion of the ethics and politics of cultural heritage: What are the harms associated with appropriation and commodification, specifically where the heritage of Indigenous peoples is concerned? And how can these harms best be avoided? Archaeological concerns animate this discussion; we are ultimately concerned with fostering postcolonial archaeological practices. But we situate these questions in a broader context, addressing them as they arise in connection with the appropriation of Indigenous cultural heritage, both past and present.Comment: The text offers a wide-ranging discussion of cultural appropriation, and an interresting focus on commodification, display, and community engagement. A collaboration between a philosopher (Wylie) and an archaeologist (Nicholas), it's a great fit for instructors who are looking for a case-driven text that includes theoretical context. It includes four specific case studies that range over multiple cultural contexts.
Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
-
-
-
This site is registered on Toolset.com as a development site. -
-
-
-
-
-
Comment: This text is best used in discussions of the relationship between art and political activism. It can also be used as a case study in applied ethics classes on abortion.