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Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture. The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture. Contributors Lexi Adsit, Sara Ahmed, Nicole Archer, Kai Lumumba Barrow, Johanna Burton, micha cárdenas, Mel Y. Chen, Grace Dunham, Treva Ellison, Sydney Freeland, Che Gossett, Reina Gossett, Stamatina Gregory, Miss Major Griffin-Gracy, Robert Hamblin, Eva Hayward, Juliana Huxtable, Yve Laris Cohen, Abram J. Lewis, Heather Love, Park McArthur, CeCe McDonald, Toshio Meronek, Fred Moten, Tavia Nyong'o, Morgan M. Page, Roy Pérez, Dean Spade, Eric A. Stanley, Jeannine Tang, Wu Tsang, Jeanne Vaccaro, Chris E. Vargas, Geo Wyeth, Kalaniopua Young, Constantina Zavitsanos
Essays, discussions, and image portfolios map the evolution of art forms engaged with the Internet. Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium—with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies. Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as “postinternet.” Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, and others. Mass Effect relaunches a publication series initiated by the MIT Press and the New Museum in 1984, which produced six defining volumes for the field of contemporary art. These new volumes will build on this historic partnership and reinvigorate the conversation around contemporary culture once again. Copublished with the New Museum of Contemporary Art, New York Important Notice: The digital edition of this book is missing some of the images found in the physical edition. Contributors Cory Arcangel, Karen Archey, Michael Bell-Smith, Claire Bishop, Dora Budor, Johanna Burton, Paul Chan, Ian Cheng, Michael Connor, Lauren Cornell, Petra Cortright, Jesse Darling, Anne de Vries, DIS, Aleksandra Domanović, Harm van den Dorpel, Dragan Espenschied, Rózsa Zita Farkas, Azin Feizabadi, Alexander R. Galloway, Boris Groys, Ed Halter, Alice Ming Wai Jim, Jogging, Caitlin Jones, David Joselit, Dina Kafafi, John Kelsey, Alex Kitnick, Tina Kukielski, Oliver Laric, Mark Leckey, David Levine, Olia Lialina, Guthrie Lonergan, Jordan Lord, Jens Maier-Rothe, Shawn Maximo, Jennifer McCoy, Kevin McCoy, Gene McHugh, Tom Moody, Ceci Moss, Katja Novitskova, Marisa Olson, Trevor Paglen, Seth Price, Alexander Provan, Morgan Quaintance, Domenico Quaranta, Raqs Media Collective, Alix Rule, Timur Si-Qin, Josephine Berry Slater, Paul Slocum, Rebecca Solnit, Wolfgang Staehle, Hito Steyerl, Martine Syms, Ben Vickers, Michael Wang, Tim Whidden, Anicka Yi, and Damon Zucconi
Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts. How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term “public art” is largely insufficient to describe such practices? Concepts such as “new genre public art,” “social practice,” or “socially engaged art” may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems. In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways—driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes? This volume gathers essays, dialogues, and art projects—some previously published and some newly commissioned—to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.
Out There addresses the theme of cultural marginalization - the process whereby various groups are excluded from access to and participation in the dominant culture. It engages fundamental issues raised by attempts to define such concepts as mainstream, minority, and "other," and opens up new ways of thinking about culture and representation. All of the texts deal with questions of representation in the broadest sense, encompassing not just the visual but also the social and psychological aspects of cultural identity. Included are important theoretical writings by Homi Bhabha, Helene Cixous, Gilles Deleuze and Felix Guattari, and Monique Wittig. Their work is juxtaposed with essays on more overtly personal themes, often autobiographical, by Gloria Anzaldua, Bell Hooks, and Richard Rodriguez, among others. This rich anthology brings together voices from many different marginalized groups - groups that are often isolated from each other as well as from the dominant culture. It joins issues of gender, race, sexual preference, and class in one forum but without imposing a false unity on the diverse cultures represented. Each piece in the book subtly changes the way every other piece is read. While several essays focus on specific issues in art, such as John Yau's piece on Wilfredo Lam in the Museum of Modern Art, or James Clifford's on collecting art, others draw from debates in literature, film, and critical theory to provide a much broader context than is usually found in work aimed at an art audience. Topics range from the functions of language to the role of public art in the city, from gay pornography to the meanings of black hair styles. Out There also includes essays by Rosalyn Deutsche, Richard Dyer, Kobena Mercer, Edward Said, Gayatri Spivak, Gerald Vizenor and Simon Watney, as well as by the editors. Copublished with the New Museum of Contemporary Art, New York Distributed by The MIT Press.
A stinging critique of the link between global capitalism and U.S. multiculturalisms
Poetry. TRANSTRENDER is a book of lyric poems investigating the impossibility of language to express the bodily and social experience of transness. Written from an afrolatinx trans position, the work deals with the trap of visibility, the coloniality of gender, and the refusal of cogency in a moment where trans is trending (that is, being commodified and whitewashed). abreu manically darts from image to image in their poems, working in a digitally-influenced poetic register which, as Brian Droitcour describes, "looks like flarf but isn't." The result is a text that resists opportunities for the reader to connect the dots, instead pushing toward an expanded lyric awareness in which poiesis does not betray its site-specificity, and gender nonconformity is not confined to a false narrative of emergence from white modernity. Divided into four sections: untitled, naming, site-specific poems, amotivational speech.
Winner, 2014 Lambda Literary Award in LGBT Studies Since the 1970s, a key goal of lesbian and gay activists has been protection against street violence, especially in gay neighborhoods. During the same time, policymakers and private developers declared the containment of urban violence to be a top priority. In this important book, Christina B. Hanhardt examines how LGBT calls for "safe space" have been shaped by broader public safety initiatives that have sought solutions in policing and privatization and have had devastating effects along race and class lines. Drawing on extensive archival and ethnographic research in New York City and San Francisco, Hanhardt traces the entwined histories of LGBT activism, urban development, and U.S. policy in relation to poverty and crime over the past fifty years. She highlights the formation of a mainstream LGBT movement, as well as the very different trajectories followed by radical LGBT and queer grassroots organizations. Placing LGBT activism in the context of shifting liberal and neoliberal policies, Safe Space is a groundbreaking exploration of the contradictory legacies of the LGBT struggle for safety in the city.