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The diversity of the middle: mythology in intersectional trans representation 中间的多样性:交叉跨表现中的神话
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920941897
S. Crasnow
{"title":"The diversity of the middle: mythology in intersectional trans representation","authors":"S. Crasnow","doi":"10.1177/1470412920941897","DOIUrl":"https://doi.org/10.1177/1470412920941897","url":null,"abstract":"This article examines the use of mythological hybrid figures in works by two non-binary queer contemporary artists of color. For these artists, the intersection of their ethnic/religious identities and their queer identities leads them to experience a hindrance to full belonging in each of these communities. This results in a feeling of liminality or ‘in-betweenness’. In considering this ‘in-betweenness’ as an intersectional liminality, the author argues that these artists utilize mythological hybrid figures in their work to articulate this experience as one of potential, rather than foreclosure. In so doing, this article seeks to challenge, and possibly transform, the notion of the hybrid as a composite of oftentimes irreconcilable parts one must navigate and move between into a site of creative promise. Rooting this re-evaluation of liminality and hybridity in the verbal and artistic articulations of queer non-binary artists of color centers these voices in the construction of new notions of hybridity and liminality.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920941897","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44853522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The wavering line of foreground and background: a proposal for the schematic analysis of trans visual culture 前景与背景的摇摆线：对跨视觉文化图式分析的建议
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920944480
Eliza Steinbock
{"title":"The wavering line of foreground and background: a proposal for the schematic analysis of trans visual culture","authors":"Eliza Steinbock","doi":"10.1177/1470412920944480","DOIUrl":"https://doi.org/10.1177/1470412920944480","url":null,"abstract":"This article endeavors to describe the impact of ‘visual essentialism’ as an approach towards trans visual culture, including the violence it enacts and the mistrust it fosters towards self-defining language for gender identities. It borrows Susan Stryker’s insight in her introduction to her Transgender Studies Reader (2006, edited with Stephen Whittle) that trans phenomena move to the foreground when set against an ambient background consisting of gender normative conditions. It extrapolates this visual metaphor for understanding trans in contrast to non-trans into a method to analyze trans visual culture. The author argues that, by focusing on how the figure and ground relate in alignment, or not, the analyst can better examine how the components of visuality are working together to position one’s value-laden perspective on visible transgender and non/trans things. This elaboration along three proposed categories of value, namely political, symbolic and commercial, is offered to better understand and parse the noted problem of trans visibility increasing alongside transphobic violence.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920944480","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47530822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 6
Review: Tom Rice, Films for the Colonies: Cinema and the Preservation of the British Empire 评论：汤姆·赖斯，《殖民地电影：电影与大英帝国的保护》
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920936574
Hannah M. Stamler
{"title":"Review: Tom Rice, Films for the Colonies: Cinema and the Preservation of the British Empire","authors":"Hannah M. Stamler","doi":"10.1177/1470412920936574","DOIUrl":"https://doi.org/10.1177/1470412920936574","url":null,"abstract":"In their 2011 edited volume Useful Cinema, Charles R Acland and Haidee Wasson argue that the majority of cinema scholarship misses an important feature of the medium by focusing on commercial public films. The 20th century, they note, witnessed not only the rise of entertainment cinema but also the creation of a vast universe of what the authors term ‘useful cinema’: educational and instructional films created by schools, public agencies, and private businesses. Such films – played on the walls of classrooms, exhibition halls, and offices – projected a different, yet equally important, vision of cinema’s place and purpose in modern life. Here, the medium was technology more than art: a tool for ‘making, persuading, instructing, demonstrating’ (Acland and Wasson, 2011: 6). To arrive at an accurate understanding of 20th-century film culture, they conclude, scholars must pivot away from theatrical releases and begin to consider film history’s entanglement with institutional history, exploring how cinema was ‘adapted to institutional directives, wielding influence outside of the multiplex and the art house’ (p. 13).","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920936574","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41596322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Chasing Charley, finding Reed: reaching toward the ghosts of the archive 追逐查理，找到里德：走向档案馆的幽灵
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920944501
KJ Cerankowski
{"title":"Chasing Charley, finding Reed: reaching toward the ghosts of the archive","authors":"KJ Cerankowski","doi":"10.1177/1470412920944501","DOIUrl":"https://doi.org/10.1177/1470412920944501","url":null,"abstract":"The archive consists of memories, documents, and images waiting to be curated into a story. In this article, the author collates archival object encounters into a transgender ‘ghost story’ that marks the impossibility of a straightforward history of the subject, relying instead on embodied encounters with archive objects, or the remnants (ghostly and tangible) of archival subjects. Following the materials of Charley Parkhurst and Reed Erickson, the author makes connections where none previously existed, asking: How do we put life back into the materials of the dead? What do the traces and memories of these ghosts offer the living? What do archive objects activate in the eyes that see them, the ears that listen, and the hearts that race or slow with each haptic encounter? Following these questions, this article pieces together a different kind of narrative history and transition story through the unexpected encounters with the archive and its ghosts.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920944501","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49355755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Trans men’s stealth aesthetics: navigating penile prosthetics and ‘gender fraud’ 跨性别男性的隐形美学:阴茎假体和“性别欺诈”的导航
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920946827
Chris Straayer
{"title":"Trans men’s stealth aesthetics: navigating penile prosthetics and ‘gender fraud’","authors":"Chris Straayer","doi":"10.1177/1470412920946827","DOIUrl":"https://doi.org/10.1177/1470412920946827","url":null,"abstract":"This article examines trans commercial production of penile prosthetics, the efficacy of such products in personal and sex-segregated spaces, and their negative valence in the public sphere. Responding to his own experience of gender dysphoria, Transthetics founder Alex designs and produces products for the reparative and enabling embodiment of trans men. Penile prosthetics reflect the longstanding tension between aesthetics and function in the history of prosthetic limbs. The author posits ‘stealth aesthetics’ as a function-injected realism that pushes into reality via utilization of prosthetics in the performance of real life. For some trans men, the phenomenologically incorporated prosthetic is tantamount to a corporeal penis. Cisnormativity, however, outlaws this equivalence. Recent prosecutions of penile prosthetic embodiment as ‘gender fraud’ punitively restrict trans men’s claim on reality, instead exposing their private bodies to public judgment, where genitals produce gender. By contrast, the author advocates the authorization of gender to produce genitals.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920946827","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43040082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 6
‘I’m a person who loves beautiful things’: Potassa de Lafayette as model and muse “我是一个热爱美好事物的人”:Potassa de Lafayette作为模特和缪斯
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920944493
Kara Carmack
{"title":"‘I’m a person who loves beautiful things’: Potassa de Lafayette as model and muse","authors":"Kara Carmack","doi":"10.1177/1470412920944493","DOIUrl":"https://doi.org/10.1177/1470412920944493","url":null,"abstract":"In January 1977, Potassa de Lafayette visited Andy Warhol’s studio wearing a black velvet and taffeta evening gown. The Dominican model sat for sketches by visiting artist Jamie Wyeth and photographs taken by Warhol that together reveal the sequence in which Potassa raised her skirt and lowered her stockings to expose her penis. This contribution explores Potassa’s strategies of self-presentation amid the politics at play in the studio that day. The author reads Potassa as a self-possessed figure fully in control of her image because hers is an identity not predicated on a gendered or sexed body, but on a visual sensibility – as one who ‘loves beautiful things’. As an aesthete and as one of the first openly transgender models of color, Potassa, the author argues, negotiated difference through beauty and glamor in Warhol’s studio and across New York’s high art and fashion scenes.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920944493","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41464329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Familiar grammars of loss and belonging: curating trans kinship in post-dictatorship Argentina 失落和归属的熟悉语法:在独裁统治后的阿根廷策划跨性别亲属关系
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920941905
Cole Rizki
{"title":"Familiar grammars of loss and belonging: curating trans kinship in post-dictatorship Argentina","authors":"Cole Rizki","doi":"10.1177/1470412920941905","DOIUrl":"https://doi.org/10.1177/1470412920941905","url":null,"abstract":"On 24 March 1976, the Argentine military staged a coup d’état and established dictatorship. To eliminate radical left activists, the armed forces perpetrated mass civilian murder until democratic transition in 1983. The Mothers of Plaza de Mayo emerged, protesting their children’s disappearance by mobilizing portraiture to make visible familial rupture and indict the state. This article examines the archival exhibit, Esta se fue, a esta la mataron, esta murió (2017), which displayed trans women’s vernacular photographs and family albums from the 1970s–1980s, the same years as dictatorship. Analyzing the exhibit’s curatorial choices and the photographs’ material and haptic qualities, this article reads the exhibit alongside the Mothers’ iconic activist visual culture and national narratives of family loss. In doing so, the author suggests the exhibit renders trans sociality familial and familiar to a national viewing public, thereby reinterpreting Argentine history by installing trans subjects as proper subjects of national mourning.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920941905","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43731500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 5
Review: Jenny Odell, How to Do Nothing: Resisting the Attention Economy 回顾:珍妮·奥德尔，《如何无所事事:抵制注意力经济》
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920936582
S. L. Hayes
{"title":"Review: Jenny Odell, How to Do Nothing: Resisting the Attention Economy","authors":"S. L. Hayes","doi":"10.1177/1470412920936582","DOIUrl":"https://doi.org/10.1177/1470412920936582","url":null,"abstract":"Artist Jenny Odell joins a growing conversation about art and social reproduction with her widely circulated (2019) book How to Do Nothing: Resisting the Attention Economy. This text offers an exciting popular effort to articulate the politics of non-instrumental aesthetics as a kind of critical revitalization. As she writes it, there is ‘revolutionary potential’ in ‘taking back our attention’ and ‘protect[ing] our spaces and our time for noninstrumental, noncommercial activity and thought, for maintenance, for care, for conviviality’ (pp. xxiii, 28). The primary wager of Odell’s book is that ‘doing nothing [is] an act of political resistance to the attention economy’ (p. xi). ‘Doing nothing’ is the name Odell gives to the practice of ‘disengaging’ from those frenetic, instrumental, or self-branding styles of attention that are encouraged by social media and our late capitalist world. Odell’s interest in the anxious and overstimulated subject that is produced by such dominant modes of attention may thus be contextualized within a larger body of critical writing on neoliberal affect and human capital subject formation. Read this way, How to Do Nothing issues a timely call for the cultivation of non-instrumental aesthetic practices that might enable us to build ourselves into different subjects (and subsequently also, create different shared lifeworlds) than those disciplined by our competitive, algorithmic work society.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920936582","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48973722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 46
Pretty in pink: David Antonio Cruz’s portrait of the florida girls 粉红色的美丽：大卫·安东尼奥·克鲁兹的佛罗里达女孩肖像
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920941901
Robb Hernández
{"title":"Pretty in pink: David Antonio Cruz’s portrait of the florida girls","authors":"Robb Hernández","doi":"10.1177/1470412920941901","DOIUrl":"https://doi.org/10.1177/1470412920941901","url":null,"abstract":"Roused by the deaths of five African American transgender women in Florida in 2018, artist David Antonio Cruz intervenes in inaccurate media reports about these murders. Painting portrait of the florida girls in 2019, his diptych of significant scale and palette, confronts this senseless violence and challenges sensationalized coverage. This article centralizes his work arguing for the ways in which Cruz innovates transgender of color visibility through a queer of color critiquing of the portrait form and concerted use of a ‘blacktino’ optic. Ruminating on the combined tragedies of gun violence at Pulse nightclub and serial murder of trans femmes, Cruz’s work interrogates the posthumous transgender image with a reversal of digital source material and bodily logics in pose and countenance. By turning to the transnational crossroads shaping these communities’ shared horrors, central Florida, Cruz activates his audience with a sense of urgency in the persuasive power of pink.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920941901","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43588825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Prismatic views: a look at the growing field of transgender art and visual culture studies 棱镜视角:跨性别艺术和视觉文化研究领域的发展
IF 1.4 4区 社会学
Journal of Visual Culture Pub Date : 2020-08-01 DOI: 10.1177/1470412920946829
Cyle Metzger, Kirstin Ringelberg
{"title":"Prismatic views: a look at the growing field of transgender art and visual culture studies","authors":"Cyle Metzger, Kirstin Ringelberg","doi":"10.1177/1470412920946829","DOIUrl":"https://doi.org/10.1177/1470412920946829","url":null,"abstract":"Transgender art and visual culture studies is a quickly growing field, and we present it to readers of this themed issue less as a linear discourse or a set of parameters than as a prism, with no clear temporal progression or geopolitical center. In this introduction, we not only announce the articles in this issue and discuss their convergences and divergences but also survey works in transgender studies that have proven critical to discussions of the visual and material within transgender cultures. Reading what follows, we hope any shared notion of transgender art and visual culture is expanded rather than contracted – that we find new ideas rather than merely those that reconfirm our existing sense of things or serve a monolithic construct that limits our future imaginary.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412920946829","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48082445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 5
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