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Judy Ledgerwood
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Judy Ledgerwood
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Judy Ledgerwood
With powerful, confident gestures, Judy Ledgerwood fills her gigantic canvases with rows of large forms, such as circles and loops, which initially recall such male-dominated styles as Abstract Realism or Pop art. But Ledgerwood's formal vocabulary is also full of references to ornamental and crafts traditions and decorative color combinations.
Judy Ledgerwood
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Why Paint?
Four Chicago-based artists, Judy Ledgerwood, Jim Lutes, Kay Rosen and Kevin Wolff, propose a variety of answers, exits and witty retorts to the often asked, and purportedly existential, question: why paint? Why not? Between the large-scale romantic landscapes of Ledgerwood, Rosen's carefully crafted word games, Lutes' calligraphic jumbles and the wily appendages of Wolff, painting has rarely seemed as varied and relevant. Art critic David Pagel looks at the crises in painting within the pretext of Modernism's decline and the ascension of Postmodernist pluralism and search for narratives. Pagel asserts that the question of how and why to paint always arrives either too late or too early, ever missing the crime in action, but there to reap the benefits of the deed.
Khmer Women on the Move
This is a fascinating ethnography about young Khmer women moving to the city to work in the garment factories, in prostitution, and as street sellers. The author makes good use of new theoretical approaches in anthropology that focus on negotiation and creativity in situations of rapid change. The result is not only a welcome new book on post-war Cambodia but an important addition to the literature on women, migration, and labor in Southeast Asia and the world. —Judy Ledgerwood, Northern Illinois University Khmer Women on the Move offers a fascinating ethnography of young Cambodian women who move from the countryside to work in Cambodia’s capital city, Phnom Penh. Female migration and ur...
Genocide, Collective Violence, and Popular Memory
The twentieth century has been scarred by political violence and genocide, reaching its extreme in the Holocaust. Yet, at the same time, the century has been marked by a growing commitment to human rights. This volume highlights the importance of history-
Archiving the Unspeakable
Roughly 1.7 million people died in Cambodia from untreated disease, starvation, and execution during the Khmer Rouge reign of less than four years in the late 1970s. The regime’s brutality has come to be symbolized by the multitude of black-and-white mug shots of prisoners taken at the notorious Tuol Sleng prison, where thousands of “enemies of the state” were tortured before being sent to the Killing Fields. In Archiving the Unspeakable, Michelle Caswell traces the social life of these photographic records through the lens of archival studies and elucidates how, paradoxically, they have become agents of silence and witnessing, human rights and injustice as they are deployed at various moments in time and space. From their creation as Khmer Rouge administrative records to their transformation beginning in 1979 into museum displays, archival collections, and databases, the mug shots are key components in an ongoing drama of unimaginable human suffering. Winner, Waldo Gifford Leland Award, Society of American Archivists Longlist, ICAS Book Prize, International Convention of Asia Scholars
At the Edge of the Forest
Inspired by David Chandler's groundbreaking work on Cambodian attempts to find order in the aftermath of turmoil, these essays explore Cambodian history using a rich variety of sources that cast light on Khmer perceptions of violence, wildness, and order, examining the "forest" and cultured space, and the fraught "edge" where they meet.
Buddha Is Hiding
This work tells the story of Cambodians whose route takes them from refugee camps to California's inner-city and high-tech enclaves. We see these refugees becoming new citizen-subjects through a dual process of being made and self-making, balancing religious salvation and entrepreneurial values.
