According to the author, queer as an identification and subjectivity is important to his writing of transnational South Asian art histories. This book talks about new transnational South Asian art histories, to make visible histories of artworks that remain marginalised within the discipline of art history. This is done through a deliberate 'productive failure', by not upholding the strictly genealogical approach. The book discusses authorship by examining the writing about the work of Anish Kapoor to explore the shifting manner in which critics and art historians have identified him and his work. It focuses on the author's own identification as queer and South Asian American to put pressure on the coherency of an LGBTQI art history. It connects formal similarities of abstract work produced in the 1960s in New York City by Cy Twombly and Natvar Bhavsar. The book deals with an art history that concerns facile categories such as South Asian/non-South Asian and black/white, and discusses the works of Stephen Dean, Mario Pfeifer, Adrian Margaret Smith Piper, and Kehinde Wiley. It focuses on practice-led research by discussing 'Sphere:dreamz,; which was produced by queer-identified South Asian women. Continuing the focus, the book looks at the multi-site exhibition 'Mixing It Up: Queering Curry Mile and Currying Canal Street', organised by the author in 2007. It addresses the question of how certain subjects are considered as 'belonging' and others as not; and the role of art in the reconstitution of notions of 'home' and transnational South Asian art histories.
the autobiographical mode works to
‘deploy discourses of identity to organize acts of remembering that
are addressed to multiple addressees or readers’ and their use of
direct address offer readers concrete models for civic action.6
Reading these two authors together allows us to begin the recovery
of an as-yet-unwritten history of radical queerfeminism in the twentieth century, mapping linked networks of influence that suggest
Autobiographical acts of reading
a burgeoning strand of intersectional feminism that has not yet
been examined in existing literary
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
Stacy Alaimo and Susan Hekman, ‘has not fulfilled its promise as a theoretical grounding for feminism’. 61 They are keen to unmoor, contest and redeploy gender dualities in the name of queerfeminism. They continue: ‘Perhaps due to its centrality in modernist thought, postmoderns are very uncomfortable with the concept of the real or the material’. 62 Alaimo and Hekman are explicit in also drawing confidence from new thinking in biology itself for a radically expanded, non-binary notion of gender too. Specifically, they cite Myra J. Hird’s ‘Naturally Queer’ (2004
present at this protest and also raised funds for the
women at the camp. Transcript of interview with Chris Aldred (CA), 30 August 2007,
p. 32. For an overview of this campaign see S. Roseneil, Common Women, Uncommon
Practices: The QueerFeminisms of Greenham (London, 2000).
9 D. Dahlerup, ‘Introduction’ in D. Dahlerup (ed.), The New Women’s Movement:
Feminism and Political Power in Europe and the USA (London, 1986), p. 10.
10 N. Williamson, ‘Ten Years After – The Revolutionary Left in
deal with queerfeminism in this chapter.
Criticality, the curatorial, and practice-led research
In many ways this chapter is a seamless extension of the previous one, especially the shift from negative critique to actively producing the transnational
South Asian art histories I want to see written. However, the fact that I brought
into being the very material I want to historicize requires further reflection.
That is, I am even more entangled here than in the previous chapter with the
subject matter about which I hope to write. Visual
preparing boys to be ‘Practical Idealists and Citizens of To-morrow, the
Husbands of the Future and Fathers of Posterity’:
fops, fancies and fanaticisms – this queerfeminism which would
affiliate Boys’ Clubs to Girls’ Clubs Federations! It was evidently time
that Boys’ Clubs got together to stand for robust and wholesome boyhood!55
What was ‘properly’ described as the first NABC conference was
held at Toynbee Hall in 1925, attracting an attendance of seventy-nine
men and ‘1 woman boys’ club leader, Mrs Tuke of Hereford – let her
Sexuality and the Mark of Aggression
(Princeton: Princeton University Press, 1994), 9. Though Lynne Huffer’s suggestion
that ‘Valerie’s crazy ways have something to teach us about the possibilities of
Typing the poetry of monsters
queerfeminism’ is convincing, this chapter will deploy the term ‘lesbian’ because
it is on the terrain of the lesbian that Solanas had to assert herself. See Lynne
Hufer, ‘After Sex,’ in Are the Lips a Grave? A Queer Feminist on the Ethics of Sex
(New York: Columbia University Press, 2013), 161–176: 163.
9 Avital Ronell, ‘Deviant
experimental media art, I listen to the
many auralities that contribute to each individual sounding as what Altman
calls ‘a point of exchange’, but at the same time, I continue to perform close
readings of specific works when they are needed.63 In addition to Marks’s
scholarship on haptic media in The Skin of the Film and Touch, There is no
soundtrack is also indebted to works by Jennifer Doyle and José Esteban
Muñoz. Although these scholars are not specifically studying sound per se,
Marks’s work on intercultural media, Doyle’s discussion of queerfeminism in
her book Sex