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Photography after Photography - Abigail Solomon Godeau - Bog - Duke University Press - Plusbog.dk

Photography after Photography - Abigail Solomon Godeau - Bog - Duke University Press - Plusbog.dk

Presenting two decades of work by Abigail Solomon-Godeau, Photography after Photography is an inquiry into the circuits of power that shape photographic practice, criticism, and historiography. As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers. Among her subjects are the 2006 Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Man , insofar as these illustrate photography''s embeddedness in social relations, viewing relations, and ideological formations.

DKK 766.00
1

Photography After Photography - Abigail Solomon Godeau - Bog - Duke University Press - Plusbog.dk

Photography After Photography - Abigail Solomon Godeau - Bog - Duke University Press - Plusbog.dk

Presenting two decades of work by Abigail Solomon-Godeau, Photography after Photography is an inquiry into the circuits of power that shape photographic practice, criticism, and historiography. As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers. Among her subjects are the 2006 Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Man, insofar as these illustrate photography's embeddedness in social relations, viewing relations, and ideological formations.

DKK 278.00
1

The Charismatic Gymnasium - Maria Jose De Abreu - Bog - Duke University Press - Plusbog.dk

The Charismatic Gymnasium - Maria Jose De Abreu - Bog - Duke University Press - Plusbog.dk

In The Charismatic Gymnasium Maria José de Abreu examines how Charismatic Catholicism in contemporary Brazil produces a new form of total power through a concatenation of the breathing body, theology, and electronic mass media. De Abreu documents a vast religious respiratory program of revival popularly branded as “the aerobics of Jesus.” Pneuma—the Greek term for air, breath, and spirit—is central to this aerobic program, whose goal is to labor on the athletic elasticity of spirit. Tracing the rhetoric, gestures, and spaces that together constitute this new theological community, de Abreu exposes the articulating forces among evangelical Christianity, neoliberal logics, and the rise of right-wing politics. By calling attention to how an ethics of pauperism vitally intersects with the neoliberal ethos of flexibility, de Abreu shows how paradoxes do not hinder but expand the Charismatic gymnasium. The result, de Abreu demonstrates, is the production of a fluid form of totalitarianism and Christianity in Brazil and beyond.

DKK 766.00
1

Artist, Audience, Accomplice - Sydney Stutterheim - Bog - Duke University Press - Plusbog.dk

Artist, Audience, Accomplice - Sydney Stutterheim - Bog - Duke University Press - Plusbog.dk

In Artist, Audience, Accomplice , Sydney Stutterheim introduces a new figure into the history of performance art and related practices of the 1970s and 1980s: the accomplice. Occupying roles including eyewitness, romantic partner, studio assistant, and documenter, this figure is situated between the conventional subject positions of the artist and the audience. The unseen and largely unacknowledged contributions of such accomplices exceed those performed by a typical audience because they share in the responsibility for producing artworks that entail potential ethical or legal transgressions. Stutterheim analyzes the art of Chris Burden, Hannah Wilke, Martin Kippenberger, and Lorraine O’Grady, showing how each cannily developed strategies of shared culpability that evoked questions about the accomplice’s various rights and roles. In this way, Stutterheim argues that the artist’s authority is not sovereign, total, or exclusive but, rather, fluid and relational. By examining the development of an alternative model of participatory art that relies on a network of accomplices, Stutterheim radically revises current understandings of artistic agency, aesthetic property, and acknowledged authorship.

DKK 783.00
1

The Charismatic Gymnasium - Maria Jose De Abreu - Bog - Duke University Press - Plusbog.dk

The Charismatic Gymnasium - Maria Jose De Abreu - Bog - Duke University Press - Plusbog.dk

In The Charismatic Gymnasium Maria JosÉ de Abreu examines how Charismatic Catholicism in contemporary Brazil produces a new form of total power through a concatenation of the breathing body, theology, and electronic mass media. De Abreu documents a vast religious respiratory program of revival popularly branded as “the aerobics of Jesus.” Pneuma-the Greek term for air, breath, and spirit-is central to this aerobic program, whose goal is to labor on the athletic elasticity of spirit. Tracing the rhetoric, gestures, and spaces that together constitute this new theological community, de Abreu exposes the articulating forces among evangelical Christianity, neoliberal logics, and the rise of right-wing politics. By calling attention to how an ethics of pauperism vitally intersects with the neoliberal ethos of flexibility, de Abreu shows how paradoxes do not hinder but expand the Charismatic gymnasium. The result, de Abreu demonstrates, is the production of a fluid form of totalitarianism and Christianity in Brazil and beyond.

DKK 270.00
1

Together, Somehow - Luis Manuel Garcia Mispireta - Bog - Duke University Press - Plusbog.dk

Together, Somehow - Luis Manuel Garcia Mispireta - Bog - Duke University Press - Plusbog.dk

In Together, Somehow, Luis Manuel Garcia-Mispireta examines how people find ways to get along and share a dancefloor, a vibe, and a sound. Drawing on time spent in the minimal techno and house music subscenes in Chicago, Paris, and Berlin as the first decade of the new millennium came to a close, Garcia-Mispireta explains this bonding in terms of what he calls stranger-intimacy: the kind of warmth, sharing, and vulnerability between people that happens surprisingly often at popular electronic dance music parties. He shows how affect lubricates the connections between music and the dancers. Intense shared senses of sound and touch help support a feeling of belonging to a larger social world. However, as Garcia-Mispireta points out, this sense of belonging can be vague, fluid, and may hide exclusions and injustices. By showing how sharing a dancefloor involves feeling, touch, sound, sexuality, and subculture, Garcia-Mispireta rethinks intimacy and belonging through dancing crowds and the utopian vision of throbbing dancefloors.

DKK 950.00
1

Together, Somehow - Luis Manuel Garcia Mispireta - Bog - Duke University Press - Plusbog.dk

Together, Somehow - Luis Manuel Garcia Mispireta - Bog - Duke University Press - Plusbog.dk

In Together, Somehow, Luis Manuel Garcia-Mispireta examines how people find ways to get along and share a dancefloor, a vibe, and a sound. Drawing on time spent in the minimal techno and house music subscenes in Chicago, Paris, and Berlin as the first decade of the new millennium came to a close, Garcia-Mispireta explains this bonding in terms of what he calls stranger-intimacy: the kind of warmth, sharing, and vulnerability between people that happens surprisingly often at popular electronic dance music parties. He shows how affect lubricates the connections between music and the dancers. Intense shared senses of sound and touch help support a feeling of belonging to a larger social world. However, as Garcia-Mispireta points out, this sense of belonging can be vague, fluid, and may hide exclusions and injustices. By showing how sharing a dancefloor involves feeling, touch, sound, sexuality, and subculture, Garcia-Mispireta rethinks intimacy and belonging through dancing crowds and the utopian vision of throbbing dancefloors.

DKK 238.00
1

Artist, Audience, Accomplice - Sydney Stutterheim - Bog - Duke University Press - Plusbog.dk

Artist, Audience, Accomplice - Sydney Stutterheim - Bog - Duke University Press - Plusbog.dk

In Artist, Audience, Accomplice, Sydney Stutterheim introduces a new figure into the history of performance art and related practices of the 1970s and 1980s: the accomplice. Occupying roles including eyewitness, romantic partner, studio assistant, and documenter, this figure is situated between the conventional subject positions of the artist and the audience. The unseen and largely unacknowledged contributions of such accomplices exceed those performed by a typical audience because they share in the responsibility for producing artworks that entail potential ethical or legal transgressions. Stutterheim analyzes the art of Chris Burden, Hannah Wilke, Martin Kippenberger, and Lorraine O’Grady, showing how each cannily developed strategies of shared culpability that evoked questions about the accomplice’s various rights and roles. In this way, Stutterheim argues that the artist’s authority is not sovereign, total, or exclusive but, rather, fluid and relational. By examining the development of an alternative model of participatory art that relies on a network of accomplices, Stutterheim radically revises current understandings of artistic agency, aesthetic property, and acknowledged authorship.

DKK 246.00
1

Sissy Insurgencies - Marlon B. Ross - Bog - Duke University Press - Plusbog.dk

Sissy Insurgencies - Marlon B. Ross - Bog - Duke University Press - Plusbog.dk

In Sissy Insurgencies Marlon B. Ross focuses on the figure of the sissy in order to rethink how Americans have imagined, articulated, and negotiated manhood and boyhood from the 1880s to the present. Rather than collapsing sissiness into homosexuality, Ross shows how sissiness constitutes a historically fluid range of gender practices that are expressed as a physical manifestation, discursive epithet, social identity, and political phenomenon. He reconsiders several black leaders, intellectuals, musicians, and athletes within the context of sissiness, from Booker T. Washington, George Washington Carver, and James Baldwin to Little Richard, Amiri Baraka, and Wilt Chamberlain. Whether examining Washington’s practice of cleaning as an iteration of sissiness, Baldwin’s self-fashioned sissy deportment, or sissiphobia in professional sports and black nationalism, Ross demonstrates that sissiness can be embraced and exploited to conform to American gender norms or disrupt racialized patriarchy. In this way, sissiness constitutes a central element in modern understandings of race and gender.

DKK 318.00
1