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151 Photographic archives and archival entities 11 Ariella Azoulay We often hear people qualifying photographs as ‘vernacular’, ‘subversive’, ‘official’, ‘propagandistic’ or ‘political’. The use of such adjectives to classify photographs is based on the institutionalisation of one particular mode of photography. Within this framework, photography is approached as a productive practice led by individuals who act as authors. The products these authors generate are conceived as signed and sealed, and can be classified independently of the event in which they

in Image operations
The global exposition and the museum

The archive of Chineseness The archive of Chineseness: the global exposition and the museum In 2012, the Shanghai Biennale opened at the new mega museum, the Power Station of Art, the massive seven-story, 450,000-square-foot former electrical plant that was transformed into a museum in the model of London’s Tate Modern. Museums have become important civic centers and tourist sites for international cities such as Shanghai and Beijing, contributing to the rapid development of China’s metropolitan areas, and attaining the symbolic status that they have long

in Staging art and Chineseness

80 4 Bound together Yellow, or reading archives diagonally Archive: The Leather Archives & Museum It’s curious that the great thing that’s developed out of gay liberation, one of its most visible artifacts, is all those bars where guys go and piss on each other […] Kate Millett1 It was a specific death that established the Leather Archives & Museum (LA&M). Dom Orejudos, the prolific leather artist who went under the pseudonym Etienne, died in the fall of 1991 from AIDS. Reading the obituary printed in the Chicago Tribune, however, one would be forgiven for

in Bound together
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Leather, sex, archives, and contemporary art

Bound Together: Leather, Sex, Archives, and Contemporary Art considers historic gay and lesbian leather communities by way of two interrelated lines of enquiry; addressing the archives where leather histories and their attendant visual and material objects currently reside, while also examining the projects of contemporary artists who bring leather histories to the fore, making an implicit argument for their potential queer political force in the present. Arguing for an expansive, yet grounded, consideration of the vicissitudes and pleasures of archival work, the book centers the material and visual cultures produced by members of gay and lesbian leather communities, tracing their contextual meanings at the time of their making, as well as their continued ability to produce community-specific histories in archival repositories (that may or may not be solely dedicated to leather communities). Contemporary artists such as Dean Sameshima, Die Kränken, Monica Majoli, A. K. Burns and A. L. Steiner, and Patrick Staff have incorporated the themes, materialities, and/or histories of such archival holdings into their heterogeneous practices, establishing leather history as a persistent and generative touchstone for rethinking queer life, relationality, and sexual politics.

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Bound together

take time as its setting; rather, it embeds time in its narrative structure. Carolyn Steedman1 The purpose of history, guided by genealogy, is not to discover the roots of our identity, but to commit itself to its dissipation […] to make visible all those discontinuities that cross us. Michel Foucault2 This book considers historic gay and lesbian leather communities by way of two interrelated lines of enquiry; addressing the archives where leather histories and their attendant visual and material objects currently reside, while also examining the projects of

in Bound together
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Surrogates, envelopes

, watercolor and gouache on paper, 64 x 51 in. consideration or criticality.4 In concluding this book with a rumination on Majoli’s work I hope to also turn a lens back on myself, on the archive I’ve assembled while writing this book, and on the transformative capacities that accompany identification with another within and outside the scene of sex—a practice some might call love. 221 9.1 222 Bound together Years after my initial conversation with Majoli, I happened to be reading Roland Barthes’s assemblage of fragments, A Lover’s Discourse. The occasion was a book

in Bound together

‘Clubs that don’t exist anymore’ ‘Clubs that don’t exist anymore’ 129 6 Archive: The Carter/Johnson Leather Library; Viola Johnson’s pin sash An illustration in the 1955 Girl Scout Handbook: Intermediate Program depicts two teenage girls examining a sash filled with badges (figure 6.1). The girl wearing the sash looks down, her head bowed as she speaks to her companion. Lifting the sash away from her body with her right hand, she points with Illustration from the Girl Scout Handbook: Intermediate Program, © 1953/1955 by Girl Scouts of the United States

in Bound together

under the supervision of NSW Government Architect Cobden Parkes, the Gov was a purpose-built printing factory. Completed in 1959, the building was used as a printing house until the closure of the Government Printing Office in 1989. This chapter demonstrates how design and architectural histories can combine the more traditional analysis of form, archival materials, drawings and photographs with the creative development of a ‘mnemonic spatial projection’, emergent through the interview process. One unexpected outcome of the oral history interview process was that the

in Hot metal
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Histories, documents, archives

124 B4B That which was: histories, ​ documents, archives There is no political power without control of the archive, if not of memory. Effective democratisation can always be measured by this essential criterion: the participation in and access to the archive, its constitution, and its interpretation.1 History in the making ‘I retraced my footsteps along paths and streets that I thought I had forgotten …’ In a manner appropriate to the recurring compulsions of Willie Doherty’s art, let us now return right away to familiar ground –​ let us revisit already well

in Ghost-haunted land

34 2 Bound together The work of the Master’s hand Archives: Band of Bikers album; ONE National Gay and Lesbian Archives Artwork: Die Kränken, Sprayed with Tears, 2017 The art dealer, poet, and found photography collector Scott Zieher tells the following story: In the spring of 1999, I was doing laundry when my superintendent greeted me coming off the basement elevator with the estate of a man who’d recently passed away. He had apparently lived on my floor, though I’d never seen any elderly neighbors. I had no prior knowledge of this apartment, but its

in Bound together