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Letters to the Editor and Other Comment 给编辑的信和其他评论
IF 0.3 4区 社会学
OCTOBER Pub Date : 2023-02-01 DOI: 10.1162/octo_a_00479
Morgan Fisher
{"title":"Letters to the Editor and Other Comment","authors":"Morgan Fisher","doi":"10.1162/octo_a_00479","DOIUrl":"https://doi.org/10.1162/octo_a_00479","url":null,"abstract":"Abstract “Letters to the Editor and Other Comments” is a selection of comments the artist Morgan Fisher made on Facebook during Trump's presidency. Most were copies of letters he had sent to various departments at the New York Times criticizing its coverage of the president. They are “a record,” writes George Baker, “of an artist's engagement with a moment, one through which we have evidently still not passed. The practice … was almost daily, more or less constant, an insistent and repeated holding of the public sphere to account, perhaps even a willing of it into existence.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45348001","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
New York Times Interventions 《纽约时报》
IF 0.3 4区 社会学
OCTOBER Pub Date : 2023-02-01 DOI: 10.1162/octo_a_00478
Mira Schor
{"title":"New York Times Interventions","authors":"Mira Schor","doi":"10.1162/octo_a_00478","DOIUrl":"https://doi.org/10.1162/octo_a_00478","url":null,"abstract":"Abstract Six works from the artist Mira Schor's open-ended series of handwritten defacements of the New York Times— most often of its front page—which she irregularly posts on Instagram. Varying in intensity, all have the same target: the way the language of the paper, aping “objectivity,” often tends toward obfuscation, which the artist regards as a dereliction of duty, a variety of Orwellian doublespeak that is much more subtle than what one might find on Fox News, making the debunking of its rhetoric all the more urgent.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46647790","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 Race for Appropriation: Blackness, Authorship, and Ligon on Mapplethorpe∗ 拨款竞赛：梅普尔索普岛上的黑人、作家和利贡*
IF 0.3 4区 社会学
OCTOBER Pub Date : 2023-02-01 DOI: 10.1162/octo_a_00476
Hamed Yousefi
{"title":"The Race for Appropriation: Blackness, Authorship, and Ligon on Mapplethorpe∗","authors":"Hamed Yousefi","doi":"10.1162/octo_a_00476","DOIUrl":"https://doi.org/10.1162/octo_a_00476","url":null,"abstract":"Abstract Where can we locate race/whiteness in theories and practices of appropriation—that defining practice of the “postmodern” moment of the 1980s? This article approaches the question through a close reading of Glenn Ligon's installation Notes on the Margin of the Black Book (1991–93). In this work, Ligon restages Robert Mapplethorpe's photographs of (mostly nude) Black men alongside textual quotations that discuss Mapplethorpe's work and the politics of interracial homo-erotic desire in the United States. Here, citation and annotation function as alternatives to appropriation's possessive strategy. The essay asks, if appropriation is a white avant-garde device for negating liberal notions of authorship, are citation and annotation its counterpoint for Blackness and Black authorship? The answer is sought through the interrogation of the different ways in which French and US copyright laws addressed authorship and Black subjectivity in the nineteenth and twentieth centuries.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41250345","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
Organizational Aesthetics: On Certain Practices and Genealogies∗ 组织美学:论某些实践和谱系*
IF 0.3 4区 社会学
OCTOBER Pub Date : 2023-02-01 DOI: 10.1162/octo_a_00475
S. Lütticken
{"title":"Organizational Aesthetics: On Certain Practices and Genealogies∗","authors":"S. Lütticken","doi":"10.1162/octo_a_00475","DOIUrl":"https://doi.org/10.1162/octo_a_00475","url":null,"abstract":"Abstract “Organizational Aesthetics” traces the genealogies of artistic practices engaging socially, politically, and aesthetically with form to enter into fundamental debates about hierarchy, horizontality, and centralization. Against the background of historical conflicts over relational aesthetics and tactical media, the essay problematizes the exclusive focus on physical gatherings as the exclusive site of relationality. Instead, it offers an analysis that revolves around the dialectic of such gatherings and the organizational and technological structures that subtend and transcend them. Spanning the mid-1990s to the present, this account of organizational aesthetics includes critical discussions of artists, activists, theorists, and collectives including BüroBert, Alice Creischer, Andrea Fraser, Jeanne van Heeswijk, Geert Lovink, ruangrupa, and Jonas Staal.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47141810","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
Lisette Model: Another Frankfurt School Photographer in New York Lisette模型:另一位法兰克福学派摄影师在纽约
4区 社会学
OCTOBER Pub Date : 2023-01-01 DOI: 10.1162/octo_a_00491
Hyewon Yoon
{"title":"Lisette Model: Another Frankfurt School Photographer in New York","authors":"Hyewon Yoon","doi":"10.1162/octo_a_00491","DOIUrl":"https://doi.org/10.1162/octo_a_00491","url":null,"abstract":"Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as eccentric, fantastic, and spectacular in their expressions and emotions propelled the émigré photographer with meager experience into a central position in the making of mid-century American photography, both social-documentary and commercial. Moving beyond the localized context of postwar American photography in which Model's work has been largely investigated, this essay argues for an understanding of Model's New York portraits as being shaped and informed by the photographer's consideration of the crisis of history and the violence enacted by fascism in Europe, as well as the historical condition of exile. One of the essay's claims is that Model revitalized a kind of pleasurable violence, one that enacts a sense of excessive bodily dynamism, often to the point of self-destruction, on the bodies of the American lumpenproletariat at leisure, in order both to come to terms with the role of the lumpenproletariat as the central subject of fascist politics and aesthetics in the Old World and to put pressure on the conditions of the mass subject and mass politics in the New World.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556258","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
“Great Historians Are Biological Freaks”: Siegfried Kracauer's Philosophy of History “伟大的历史学家是生物学上的怪胎”:齐格弗里德·克拉考尔的历史哲学
4区 社会学
OCTOBER Pub Date : 2023-01-01 DOI: 10.1162/octo_a_00497
Kevin Lotery
{"title":"“Great Historians Are Biological Freaks”: Siegfried Kracauer's Philosophy of History","authors":"Kevin Lotery","doi":"10.1162/octo_a_00497","DOIUrl":"https://doi.org/10.1162/octo_a_00497","url":null,"abstract":"Abstract This text examines Siegfried Kracauer's unfinished final book, the posthumously published History: The Last Things Before the Last (1969). While Kracauer's Weimar writings have long been celebrated, History, apart from a few key early texts, has only recently been given critical attention. Written in English in New York in the 1960s, the book lies at the intersection of film theory and historical philosophy. One of the key contributions of History, I argue, is that it offers a filmic technology of historical thought that might intervene in the emergent systems of temporal management and control that haunted the 1960s and continue to condition our experience of time to this day. Kracauer's name for his counter-technology is “the anteroom,” and its function is to aid utopian thought and practice, what he calls “the emergence of something new, something beyond the jurisdiction of nature.”","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556401","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
Mondrian's Boogie Woogie 蒙德里安的 Boogie Woogie
4区 社会学
OCTOBER Pub Date : 2023-01-01 DOI: 10.1162/octo_a_00496
Leah Dickerman
{"title":"Mondrian's Boogie Woogie","authors":"Leah Dickerman","doi":"10.1162/octo_a_00496","DOIUrl":"https://doi.org/10.1162/octo_a_00496","url":null,"abstract":"Abstract This essay looks at Piet Mondrian's Broadway Boogie Woogie (1942-43), one of the most iconic paintings in the collection of the Museum of Modern Art since it was acquired in 1943, offering a counterpoint to persistent readings that fundamentally position the work within a narrative of the European avant-garde. In a story that is both familiar and new, this essay highlights the structural and political insights provided by Mondrian's engagement with boogie-woogie music in America, through both recordings and visits to the nightclub Cafe Society, positioning the painting at the confluence of two streams of migration: one that brought Mondrian to New York as a war refugee and another that brought boogie-woogie sound northward with the Great Migration. Tracing these parallel histories, and how boogie-woogie signified in specific historical and political ways, deepens our understanding of how it modeled a space of freedom for Mondrian and shaped the vision realized in his two final paintings.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556399","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
Broodthaers's Debt 布罗代尔的债务
4区 社会学
OCTOBER Pub Date : 2023-01-01 DOI: 10.1162/octo_a_00494
Trevor Stark
{"title":"Broodthaers's Debt","authors":"Trevor Stark","doi":"10.1162/octo_a_00494","DOIUrl":"https://doi.org/10.1162/octo_a_00494","url":null,"abstract":"Abstract This essay investigates the status of “reification” in the work of Marcel Broodthaers, particularly in the 1971 “Section Financière” of his Musée d'Art Moderne, Départment des Aigles. It will pose finance and debt as social forms through which Broodthaers both experienced reification concretely and attempted to register its forming pressure upon the artwork's conditions of possibility. The article argues that it was Broodthaers's understanding of reification that allowed him, at a crux in the history of finance represented by the end of the Bretton Woods agreement in 1971, to posit art as a speculative investment at once uncoupled from the concrete limitations of production and ever-more-tightly ensnared by the economic power of debt.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556251","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 Madness of the Gaze: for Hubert Damisch, in every light 疯狂的凝视:休伯特·达米施，在每一个光
4区 社会学
OCTOBER Pub Date : 2023-01-01 DOI: 10.1162/octo_a_00499
Rosalind E. Krauss
{"title":"The Madness of the Gaze: for Hubert Damisch, in every light","authors":"Rosalind E. Krauss","doi":"10.1162/octo_a_00499","DOIUrl":"https://doi.org/10.1162/octo_a_00499","url":null,"abstract":"Abstract In his seminar “The Eye and the Gaze,” Jacques Lacan is forced to regard the problem of the unconscious through the grid of the Cartesian cogito. In the certainty of “I think, therefore I am,” which expresses the complete transparency of the self to its own apprehension, leaves no space for the ineffability of the unconscious. Lacan sees this proto-enlightenment certainty running through all perceptual mechanisms, as in Paul Valèry's poem “La Jeune Parque,” which declares, “I saw myself seeing myself.” Lacan turns to anamorphosis as a perceptual exception, in which there are two viewing points turned on the same object, neither coinciding with the other, such that classical perspective's fundamental unity of the perceiving subject is alienated from itself—a Spaltung, or split, that enables the unconscious presence of the uncanny and its castrative impression of death.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556400","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 Physiognomy of a Nation 一个国家的地貌
4区 社会学
OCTOBER Pub Date : 2023-01-01 DOI: 10.1162/octo_a_00492
Stephanie Schwartz
{"title":"The Physiognomy of a Nation","authors":"Stephanie Schwartz","doi":"10.1162/octo_a_00492","DOIUrl":"https://doi.org/10.1162/octo_a_00492","url":null,"abstract":"Abstract This essay revisits American Photographs, one of the most important photographic books of the 1930s. Containing two portfolios by Walker Evans and an essay by Lincoln Kirstein, the 1938 publication presents readers with eighty-seven photographs printed one per double-page spread. While critical studies of the book have focused on the sequential ordering of the photographs, and on the book's filmic qualities, this essay considers the book's other organizing principle: physiognomy. More specifically, focusing on Evans's decision to include three photographs that he made in Cuba into the book's first part, it attends to the processes of racialization organizing the book and producing America in the 1930s. Challenging canonical accounts of American Photographs and Depression-era documentary more broadly, this essay argues for a history of documentary that does not dispense with its modernism. The argument is not that modernism is still with us but that we need its repetitions.","PeriodicalId":51557,"journal":{"name":"OCTOBER","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556257","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
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