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Only Skin Deep
This in-depth exploration of photography in relation to race and racial identity in America is the companion to a national touring exhibition--opening at the International Center of Photography in New York--a Web site, a symposium, and a project archive.
Coco Fusco
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Corpus Delecti
The most comprehensive volume on performance art from the Americas to have appeared in English, Corpus Delecti is a unique collection of historical and critical studies of contemporary Latin performance. Drawing on live art from the 1960s to the present day, these fascinating essays explore the impact of Latin American politics, popular culture and syncretic religions on Latin performance. Including contributions by artists as well as scholars, Fusco's collection bridges the theory/practice divide and discusses a wide variety of genres. Among them are: * body art * carpa * vaudeville * staged political protest * tropicalist musical comedies * contemporary Venezuelan performance art * the Chicano Art movement * queer Latino performance The essays demonstrate how specific social and historical contexts have shaped Latin American performance. They also show how those factors have affected the choices artists make, and how their work draw upon and respond to their environment.
English is Broken Here
Essays, performance scripts, and interviews by one of America's emergin art critics.
A Field Guide for Female Interrogators
The world was shocked by the images that emerged from Abu Ghraib, the US-controlled prison in Iraq. Lynndie England, the young female army officer shown smiling devilishly as she humiliated male prisoners, became first a scapegoat and then a victim who was "just following orders." Ignored were the more elemental questions of how women are functioning within conservative power structures of government and the military. Why do the military and the CIA use female sexuality as an interrogation tactic, and why is this tactic downplayed and even ignored in internal investigations of prisoner abuse? Combining an art project with critical commentary, Coco Fusco imaginatively addresses the role of wo...
The Bodies That Were Not Ours
Interdisciplinary artist and writer Coco Fusco is one of North America's leading interpreters of intercultural theory and practice. This volume gathers together her finest writings since 1995 and includes critical essays by Jean Fisher and Caroline Vercoe that interpret her work. Engaging and provocative, these essays, interviews, performance scripts and fotonovelas take readers on a tour of our current multicultural landscape. Fusco explores such issues as sex tourism in Cuba as a barometer of the island's entry into the global economy, Frantz Fanon's theorization of metropolitan blackness, and artistic and net activist responses to the effects of free trade on the Mexican populace. She interviews such postcolonial personnae as Isaac Julien, Hilton Als and Tracey Moffatt. Approaching the dynamics of cultural fusion from many angles, Fusco's satires, commentaries, and sociological inquiries collapse boundaries, and form a sustained meditation on how the forces of globalization impact upon the making of art.
Clémentine Deliss
For quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation. Clearly, this cannot continue. That the situation can be different is something that Clémentine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt's Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential f...
Young, British, and Black
"Sankofa Film/Video Collective and Black Audio Film Collective are the most celebrated and controversial Black media groups to emerge from the British workshop movement of the 1980s. Their work focuses on the representation of the Black subject in mainstream and alternative media, also touching on such issues as institutionalized racism, sexual politics and national identity in postcolonial Britain. Challenging stylistic conventions of both documentary and fiction film, their work provides a basis for critical reflection on the history of Black film culture, Third CInema, and their future directions."--Back cover.
Unmaking Race, Remaking Soul
Explores the theme of aesthetic agency and its potential for social and political progress.
The Brutish Museums
Walk into any European museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objectsare all stolen. Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of BeninCity, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections. The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.
