This study demonstrates how African American artists active since the 1970s have instrumentalized performance for the camera to intervene in existing representations of Black and Brown people in America and beyond.
This study demonstrates how African American artists active since the 1970s have instrumentalized performance for the camera to intervene in existing representations of Black and Brown people in America and beyond.
Martyna Ewa Majewska is a Leverhulme Early Career Research Fellow in the School of Arts, Languages and Cultures, The University of Manchester
Inhaltsangabe
Acknowledgements Introduction Chapter 1. Exaggerated Features: Adrian Piper on the Limits of Performativity Chapter 2. The Outrageous Abstraction of Senga Nengudi's Performance Photography Chapter 3. Howardena Pindell's and Maren Hassinger's Subversive Video-Narcissism Chapter 4. Feeble Monuments: David Hammons and Pope.L Underperforming for the Camera Conclusion: Communication with Shadows Bibliography Index
Acknowledgements Introduction Chapter 1. Exaggerated Features: Adrian Piper on the Limits of Performativity Chapter 2. The Outrageous Abstraction of Senga Nengudi's Performance Photography Chapter 3. Howardena Pindell's and Maren Hassinger's Subversive Video-Narcissism Chapter 4. Feeble Monuments: David Hammons and Pope.L Underperforming for the Camera Conclusion: Communication with Shadows Bibliography Index
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