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AIDS & Representation explores portraits and self-portraits made in response to the AIDS epidemic in America in the 1980s and 1990s. Addressing the work of artists including Mark Morrisroe, Robert Blanchon and Felix Gonzalez-Torres through the interrelated themes of sickness and mortality, desire and sexual identity, love and loss, Fiona Johnstone shows how the self-representational practices of artists with HIV and AIDS offered a richly imaginative response to the limitations of early AIDS imagery. Johnstone argues that the AIDS epidemic changed the very nature of visual representation and artistic practice, necessitating a radical new approach to conceptualising and visualising the human form. An extended epilogue considers the ongoing art historicization of the epidemic, re-contextualising the book's themes in relation to contemporary photographic works. More than just a historical discussion of the art of the AIDS crisis, AIDS and Representation contributes to an emergent body of scholarship on the visual representation of illness. Expanding the established genre of the autopathography or illness narrative beyond the predominantly textual, this important contribution to art history and health humanities sensitively unpicks the entanglements between aesthetic form and the expression of lived experiences of critical and chronic ill health.
During the colonial period, Africans told each other terrifying rumors that Africans who worked for white colonists captured unwary residents and took their blood. In colonial Tanganyika, for example, Africans were said to be captured by these agents of colonialism and hung upside down, their throats cut so their blood drained into huge buckets. In Kampala, the police were said to abduct Africans and keep them in pits, where their blood was sucked. Luise White presents and interprets vampire stories from East and Central Africa as a way of understanding the world as the storytellers did. Using gossip and rumor as historical sources in their own right, she assesses the place of such evidence, oral and written, in historical reconstruction. White conducted more than 130 interviews for this book and did research in Kenya, Uganda, and Zambia. In addition to presenting powerful, vivid stories that Africans told to describe colonial power, the book presents an original epistemological inquiry into the nature of historical truth and memory, and into their relationship to the writing of history.
This four-volume set documents the complexity and richness of women's contributions to American history and culture, empowering all students by demonstrating a more populist approach to the past. Based on the content of most textbooks, it would be easy to reach the erroneous conclusion that women have not contributed much to America's history and development. Nothing could be further from the truth. Offering comprehensive coverage of women of a diverse range of cultures, classes, ethnicities, religions, and sexual identifications, this four-volume set identifies the many ways in which women have helped to shape and strengthen the United States. This encyclopedia is organized into four chronological volumes, with each volume further divided into three sections. Each section features an overview essay and thematic essay as well as detailed entries on topics ranging from Lady Gaga to Ladybird Johnson, Lucy Stone, and Lucille Ball, and from the International Ladies of Rhythm to the International Ladies Garment Workers Union. The set also includes a vast variety of primary documents, such as personal letters, public papers, newspaper articles, recipes, and more. These primary documents enhance users' learning opportunities and enable readers to better connect with the subject matter.
The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.
The forms taken by scientific writing help to determine the very nature of science itself. In this closely reasoned study, Charles Bazerman views the changing forms of scientific writing as solutions to rhetorical problems faced by scientists arguing for their findings. Examining such works as the early Philosophical Transactions and Newton's optical writings as well as Physical Review, Bazerman views the changing forms of scientific writing as solutions to rhetorical problems faced by scientists. The rhetoric of science is, Bazerman demonstrates, an embedded part of scientific activity that interacts with other parts of scientific activity, including social structure and empirical experience. This book presents a comprehensive historical account of the rise and development of the genre, and views these forms in relation to empirical experience.
Photography does more than simply represent the world. It acts in the world, connecting people to form relationships and shaping relationships to create communities. In this beautiful book, Margaret Olin explores photography’s ability to “touch” us through a series of essays that shed new light on photography’s role in the world. Olin investigates the publication of photographs in mass media and literature, the hanging of exhibitions, the posting of photocopied photographs of lost loved ones in public spaces, and the intense photographic activity of tourists at their destinations. She moves from intimate relationships between viewers and photographs to interactions around larger communities, analyzing how photography affects the way people handle cataclysmic events like 9/11. Along the way, she shows us James VanDerZee’s Harlem funeral portraits, dusts off Roland Barthes’s family album, takes us into Walker Evans and James Agee’s photo-text Let Us Now Praise Famous Men, and logs onto online photo albums. With over one hundred illustrations, Touching Photographs is an insightful contribution to the theory of photography, visual studies, and art history.
This book collects original research essays to explore the diverse uses of photographs and photography in oral history, from the use of photos as memory triggers to their deployment in the telling of life stories. The book's contributors include both oral historians and photography scholars and critics.