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Foreword by Tom Eccles. Edited by Rhea Anastas, Michael Brenson. Text by Keith Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Rhea Anastas, Michael Brenson, Norton Batkin, Joanna Burton, Aruna d'Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtemoc Medina, Ann Reynolds, Hamza Walker.
* Marking the 50th anniversary of the Civil Rights Act of 1964, the Brooklyn Museum offers a sharply focused look at painting, sculpture, graphics, and photography from the counterculture decade defined by social protest and racial conflict.
An unflinching, illuminating look at three U.S. artists and their performances of suffering
For more than 150 years, thousands of Indigenous children were taken from their families and sent to residential schools across Canada. Artist Carey Newman created the Witness Blanket to make sure that history is never forgotten. The Blanket is a living work of art—a collection of hundreds of objects from those schools. It includes everything from photos, bricks, hockey skates, graduation certificates, dolls and piano keys to braids of hair. Behind every piece is a story. And behind every story is a residential school Survivor, including Carey's father. This book is a collection of truths about what happened at those schools, but it's also a beacon of hope and a step on the journey toward reconciliation.
The act of bearing witness can reveal much, but what about the figure of the witness itself? As contemporary culture is increasingly dominated by surveillance, the witness--whether artist, historian, scientist, government official, or ordinary citizen--has become empowered in realms from art to politics. In Seeing Witness, Jane Blocker challenges the implicit authority of witnessing through the examination of a series of contemporary artworks, all of which make the act of witnessing visible, open to inspection and critique.
• Solid research basis, drawing on findings from a 4-year research project with in-depth interviews with judges, attorneys, and seasoned forensic neuropsychologists and psychologists as well as further interviews with professionals in other fields such as engineering, physics and economics. • Provides focused attention on how experts interact with judges, attorneys, and juries • Challenges experts to avoid the traps of professional jargon and traditional manners of presenting information/knowledge/opinions. • Provides a step-by-step approach to orienting the new academic to expert witnessing
An activist and a curator as well as a trailblazing artist, feminist and lesbian scholar, New Mexico-based Harmony Hammond (born 1944) has enjoyed a career spanning nearly fifty years and many mediums, all of which are brought together for the first time in Material Witness, which accompanies the artist's museum survey of the same name at the Aldrich Contemporary Art Museum. Hammond's groundbreaking painting and installation practice unites minimalist and postminimalist concerns with feminist art strategies, employing marginalized craft traditions in the service of abstraction, and working through a wide cast of materials: fabric, rope, pine needles, hair, blood, bone and wood, mixed with traditional sculptural and painting materials. Harmony Hammond: Material Witnessrestages the most significant installations of Hammond's career and presents them alongside her major paintings, sculptures, works on paper and ephemera. Fully illustrated, and with an essay by exhibition curator Amy Smith-Stewart, this is the first and definitive monograph on Harmony Hammond and her revolutionary practice.
A cultural, social, and medical history of migraine. For centuries, people have talked of a powerful bodily disorder called migraine, which currently affects about a billion people around the world. Yet until now, the rich history of this condition has barely been told. In Migraine, award-winning historian Katherine Foxhall reveals the ideas and methods that ordinary people and medical professionals have used to describe, explain, and treat migraine since the Middle Ages. Touching on classical theories of humoral disturbance and medieval bloodletting, Foxhall also describes early modern herbal remedies, the emergence of neurology, and evolving practices of therapeutic experimentation. Throughout the book, Foxhall persuasively argues that our current knowledge of migraine's neurobiology is founded on a centuries-long social, cultural, and medical history. This history, she demonstrates, continues to profoundly shape our knowledge of this complicated disease, our attitudes toward people who have migraine, and the sometimes drastic measures that we take to address pain. Migraine is an intimate look at how cultural attitudes and therapeutic practices have changed radically in response to medical and pharmaceutical developments. Foxhall draws on a wealth of previously unexamined sources, including medieval manuscripts, early-modern recipe books, professional medical journals, hospital case notes, newspaper advertisements, private diaries, consultation letters, artworks, poetry, and YouTube videos. Deeply researched and beautifully written, this fascinating and accessible study of one of our most common, disabling—and yet often dismissed—disorders will appeal to physicians, historians, scholars in medical humanities, and people living with migraine alike.
Today more than ever before, the historical witness is now a “museum objectâ€_x009d_ in the form of video interviews with individuals remembering events of historical importance. Such video testimonies now not only are part of the collections and research activities of museums, but become deeply intertwined with narrative and exhibit design. With a focus on Holocaust museums, this study scrutinizes for the first time this new global process of “musealisationâ€_x009d_ of testimony, exploring the processes, prerequisites, and consequences of the transformation of video testimonies into exhibits.