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This book is an anthology of the varied strategies of spatial transgressions and how they have been implemented through the arts as a means to resist, rejuvenate, reclaim, critique or cohabitate. The book is divided into two sections – Displacements and Disruptions. The first section discusses the ramifications of the spatial displacements of bodies, organizations, groups of people and ethnicities, and explores how artists, theorists and arts organizations have an attentive history of revealing and reacting to the displacement of peoples and how their presence or absence radically reconfigures the value, identity, and uses of place. In the second section, each author considers how aesthetic strategies have been utilized to disrupt expected spatial experiences and logic. Many of these strategies form radical alternative methodologies that include transgressions, geographies of resistance, and psychogeographies. These spatial performances of disruption set into motion a critical exchange between the subject, space and materiality, in which ideology and experience are both produced/spatialized and deconstructed/destabilized.
This book is an anthology of the varied strategies of spatial transgressions and how they have been implemented through the arts as a means to resist, rejuvenate, reclaim, critique or cohabitate. The book is divided into two sections - Displacements and Disruptions. The first section discusses the ramifications of the spatial displacements of bodies, organizations, groups of people and ethnicities, and explores how artists, theorists and arts organizations have an attentive history of revealing and reacting to the displacement of peoples and how their presence or absence radically reconfigures the value, identity, and uses of place. In the second section, each author considers how aesthetic strategies have been utilized to disrupt expected spatial experiences and logic. Many of these strategies form radical alternative methodologies that include transgressions, geographies of resistance, and psychogeographies. These spatial performances of disruption set into motion a critical exchange between the subject, space and materiality, in which ideology and experience are both produced/spatialized and deconstructed/destabilized. Gregory Blair is an artist, writer and educator based in Evansville, Indiana. His research incorporates interdisciplinary art practices, mobility studies, cultural geography, environmental aesthetics, continental philosophy, ecocriticism, and philosophies of place. His first book, Errant Bodies, Mobility, and Political Resistance, was published by Palgrave Macmillan in 2018. Noa Bronstein is a curator and writer based in Toronto, Canada. Her practice mainly focuses on investigating issues concerning place and space-making, and thinking through how artists disrupt and subvert systems, including those registering across social, political, and economic structures. Noa has held several positions in the arts, including Executive Director of Gallery 44 Centre for Contemporary Photography, inaugural Senior Curator at the Small Arms Inspection Building, and Project Manager at the Art Gallery of Ontario. Noa is currently the Executive Director of Gallery TPW.
Hong Kong Visual Arts Overview (the Overview) discusses topics concerning the visual arts which took place in, or are related to, Hong Kong between 1 January and 31 December 2020. The Overview is published as an electronic book. 《香港視藝概述》討論2020年1月1日至12月31日於香港發生或與之相關的視覺藝術事件。《概述》以電子書形式出版。
A sweeping history of the New York art scene during the 1960s, 1970s, and 1980s reveals a powerful "alternative" art culture that profoundly influenced the mainstream. Simultaneous. (Fine Arts)
Spatial Resistance: Literary and Digital Challenges to Neoliberalism utilizes various literary and digital artifacts to show the potential and possibility of changing the ways we consider the spaces we inhabit. As many spaces become increasingly privatized and policed, it is necessary to contemplate ways in which corporate and state-controlled spaces can not only be subverted but fundamentally changed to embrace the diverse lived experiences of all peoples. Through an analysis of fictional and virtual spaces, readers will be able to identify new ways to institute spatial change in everyday spatial lives in an effort to promote more democratic and equal experiences. While this book uses primarily the philosophy of Gilles Deleuze and Félix Guattari to engender change, it also provides practical examples to amend, change, or update the actions to suit particular needs and spaces. This book shows that radical politics and the possibility of significant change can reside in just about any object or narrative; it is the responsibility of the individual to take up the task of creating social change premised on equality, liberty, and solidarity.
Transgression suggests operating beyond accepted norms andradically reinterpreting practice by pushing at the boundaries ofboth what architecture is, and what it could or even should be. Thecurrent economic crisis and accompanying political/social unresthas exacerbated the difficulty into which architecture has longbeen sliding: challenged by other professions and a culture ofconservatism, architecture is in danger of losing its prized statusas one of the pre-eminent visual arts. Transgression opens up newpossibilities for practice. It highlights the positive impact thatworking on the architectural periphery can make on the mainstream,as transgressive practices have the potential to reinvent andreposition the architectural profession: whether they aresubverting notions of progress; questioning roles and mechanisms ofproduction; aligning with political activism; pioneering urbaninterventions; advocating informal or incomplete development;actively destabilising environments or breaking barriers of taste.In this new dispersed and expanded field of operation, the balanceof architectural endeavour is shifted from object to process, fromservice to speculation, and from formal to informal in a way thatprovides both critical and political impetus to proactively affectchange. Contributors: Can Altay, Edward Denison and Guangyu Ren, KimDovey, Chris Jenks, David Littlefield, Silvia Loeffler, AlistairParvin, Louis Rice, Patrik Schumacher and Robin Wilson Featured architects: atelier d’architectureautogérée, Lina Bo Bardi, Construire/La Machine, EXYZT,Didier Faustino/Bureau des Mésarchitectures, Lacaton &Vassal, N55, Catie Newell/*Alibi Studio, Wang Shu, Superflex andBernard Tschumi
This book shapes a situated body politics to re-think, re-write, and de-colonise social work as a post-anthropocentric discipline headed towards glocalisation, where human and non-human embodiments and agencies are entangled in glocal environmental worlds. It critically and creatively examines how social work can be theorised, practised, and written in renewed ways through dialogical and transdisciplinary practices. This book is composed of eight essayistic spaces, envisioning social work through embodied, glocal, and earthly entanglements. By drawing on research-based knowledge, autobiographical notes, stories, poetry, photographs, and an art exhibition in social work education, these essays provide readers with analysis and strategies that are useful for research, education, and practice as well as life-long learning. The book constitutes key literature for researchers, educators, practitioners, and activists in social work, sociology, architecture, art and creative writing, feminist and postcolonial studies, human geography, and post-anthropocentric philosophy. It offers the readers sustainable ways to re-think and re-write social work towards a glocal- and post-anthropocentric more-than-human worldview.
This book challenges existing notions of what is "American" and/or "Asian" art, moving beyond the identity issues that have dominated art-world conversations of the 1980s and the 1990s and aligning with new trends and issues in contemporary art today, e.g. the Global South, labor, environment, and gender identity. Contributors examine both historical and contemporary instances in art practices and exhibition-making under the rubric of "American art in Asia." The book complicates existing notions of what constitutes American art, Asian American (and American Asian) art. As today’s production and display of contemporary art takes place across diffused borders, under the fluid conditions of a globalized art world since transformed by the COVID-19 pandemic, new contexts and art historical narratives are forming that upend traditional Euro-American mappings of center-margins, migratory patterns and community engagement. The book will be of interest to scholars working in art history, American studies, Asian studies and visual culture.
When the Enlightenment thinker Gotthold Ephraim Lessing wrote his treatise Laocoon: An Essay on the Limits of Painting and Poetry in 1766, he outlined the strengths and weaknesses of each art. Painting was assigned to the realm of space; poetry to the realm of time. Space and Time in Artistic Practice and Aesthetics explores how artists since the eighteenth century up to the present day have grappled with the consequences of Lessing's theory and those that it spawned. As the book reveals, many artists have been - and continue to be - influenced by Lessing-like theories, which have percolated into the art education and art criticism. Artists from Jean Raoux to Willem de Kooning and Frances Bacon, and art critics such as Clement Greenberg, have felt the weight of Lessing's theories in their modes of creation, whether consciously or not. Should we sound the death knell for the theories of Lessing and his kind? Or will conceptions of temporality, spatiality and artistic competition continue to unfold? This book - the first to consider how Lessing's writings connect to visual art's production - brings these questions to the fore.
Since the decidedly bleak beginning of the twenty-first century, art practice has become increasingly politicized. Yet few have put forward a sustained defence of this development. Revolutionary Time and the Avant-Garde is the first book to look at the legacy of the avant-garde in relation to the deepening crisis of contemporary capitalism. An invigorating revitalization of the Frankfurt School legacy, Roberts's book defines and validates the avant-garde idea with an erudite acuity, providing a refined conceptual set of tools to engage critically with the most advanced art theorists of our day, such as Hal Foster, Andrew Benjamin, Alain Badiou, Jacques Rancire, Paolo Virno, Claire Bishop, Michael Hardt, and Toni Negri.