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Encounters Beyond the Gallery challenges the terms of their exclusion, looking to relational art, Deleuze-Guattarean aesthetics and notions of perception, as well as anthropological theory for ways to create connections between seemingly disparate worlds. Embracing a unique and experimental format, the book imagines encounters between the art works and art worlds of Rirkrit Tiravanija, Tamil women, the Shipibo-Conibo of Eastern Peru and a fictional female contemporary artist named Rikki T, in order to rethink normative aesthetic and cultural categories. Its method reflects the message of the book, and embraces a plurality of voices and perspectives to steer critical attention towards the complexity of artistic life beyond the gallery.
SILVER MEDALIST at the 2022 International Latino Book Awards Looking at Art Beyond the Gallery's White Cube with Latinx Eyes. BEYOND THE GALLERY is the second instalment of the Beyond series by Laberinto Press. This multilingual and multi-genre anthology showcases emerging and established talents within the Hispanic-Canadian community, featuring a broad range of writings on visual culture by writers, artists, and cultural workers. Resisting the sterility of contemporary art's white cube, BEYOND THE GALLERY embraces eclecticism by weaving together a labyrinth of visual experiences through intersecting and diverging pieces of fiction, creative nonfiction, journalism, and academic research. In doing this, we invite readers to consider Hispanic-Canadian literature as Canadian literature, beyond the confines of Magical Realism, the official English-French bilingual model, and to see yourself in these pages. Literary Nonfiction. Fiction. Latinx Studies. Art.
An art historian develops a theological, philosophical, and historical framework within which to experience and interpret modern and contemporary art that is in dialogue with the Christian faith.
In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics - an aesthetics of affect - and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts - the virtual, the minor, the fold, etc. - and the work of artists that position their work outside of the gallery or 'outside' of representation - Simon O'Sullivan takes Deleuze's thought into other milieus, allowing these 'possible worlds' to work back on philosophy.
Examines how scientific objects in museums and other collections act as inspiration to contemporary art practice, its histories, curating and aesthetics. Cross-disciplinary essays from leading arts professionals explore how scientific encounters in museums provoke new modes of creative thinking about art, science and curating. 84 col. illus.
Travel, Art and Collecting in South Asia questions what are ideas of vertiginous collecting, art-making and museums as expanded fields, including wonder houses and missionary museums (or museobuses) in Britain and South Asia. If the historiography of British India has privileged photography and the 'Imperial Picturesque', the emphasis here is on the formation of a creole modernity, one that considers the relationship between art and labour, including pearlescence and pearl fishing in Sri Lanka, and the iconoclastic/fetish debates and forms of collecting amongst missionaries. Eaton explores these themes alongside the genealogies and modernities of white(ness) in contemporary curating and amateur female practice, and how the museobus or museum as a unique object has informed the work of contemporary artist group Raqs Media Collective. This book will be of interest to scholars in art history, Asian history, and imperial and colonial history.
This book surveys the intersections between water systems and the phenomenology of visual cultures in early modern, colonial and contemporary South Asia. Bringing together contributions by eminent artists, architects, curators and scholars who explore the connections between the environmental and the cultural, the volume situates water in an expansive relational domain. It covers disciplines as diverse as literary studies, environmental humanities, sustainable design, urban planning and media studies. The chapters explore the ways in which material cultures of water generate technological and aesthetic acts of envisioning geographies, and make an intervention within political, social and cultural discourses. A critical interjection in the sociologies of water in the subcontinent, the book brings art history into conversation with current debates on climate change by examining water’s artistic, architectural, engineering, religious, scientific and environmental facets from the 16th century to the present. This is one of the first books on South Asia’s art, architecture and visual history to interweave the ecological with the aesthetic under the emerging field of eco art history. The volume will be of interest to scholars and general readers of art history, Islamic studies, South Asian studies, urban studies, architecture, geography, history and environmental studies. It will also appeal to activists, curators, art critics and those interested in water management.
The 21st century is a new era for interfaith dialogue. Leaders of many of the world's faiths have begun, often for the first time, to sit down together and consider the possibilities for cooperation and dialogue between the practitioners of their religions. While in the past such encounters might have been stiff affairs contrived to generate a politically expedient photo-op, what is remarkable today is the depth of relationships being formed across historically deep divides. Acclaimed artist Nicola Green has had a front row seat to many of these encounters, spending years accompanying former Archbishop of Canterbury Rowan Williams in meetings with religious leaders across the world. In her wide-ranging project Only through Others, Green presents photographs and paintings inspired by Dr. Williams' intimate conversations with figures including Pope Emeritus Benedict XVI, the Dalai Lama, the Grand Mufti of Egypt, and former British Chief Rabbi Jonathan Sacks. Green's works-resulting from unprecedented access yielding thousands of photographs, drawings, and pages of notes-provide a dynamic lens for the authors in this book to analyze what makes for productive and lasting interfaith dialogue. By paying attention to neglected factors in such encounters, from the set up of physical spaces to bodily gestures and even the clothing of participants, this book provides a truly embodied perspective on interfaith dialogue. It refuses to see theology in a vacuum, placing faith fully within the context of visual, material, and sensory culture.
Unsettling Encounters radically re-examines Emily Carr's achievement in representing Native life on the Northwest Coast, and her goals and achievements in representing Native villages and totem poles in her paintings and writings. Reconstructing a neglected body of Carr's works that was central in shaping her vision and career makes possible a new assessment of her significance as a leading figure in the history of early twentieth-century Modernism. Unsettling Encounters includes a vivid recreation of the rapidly changing historical and social circumstances in which Carr painted and wrote. She lived and worked in British Columbia at a time when the growing settler population was rapidly taking over and developing the land and its resources. Gerta Moray argues that Carr's work takes on its full significance only when it is seen as a conscious intervention in settler-Native relations. She examines the work in relation to the images of Native peoples that were then being constructed by missionaries and anthropologists and exploited by the promoters of world's fairs and museums. Carr's famous, highly expressive later paintings were based to a great extent on the results of her early experience. At the same time they were a response to new currents in North American culture in the 1920s and 1930s. Moray explores Carr's participation in the Group of Seven's agenda to build a national culture and her sense of her own position as a woman artist in this masculine arena. Unsettling Encounters is the definitive study of Carr's "Indian" images, locating them both within the local context of Canadian history and the wider international currents of visual culture.