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Identity/Alterity Re-De-Constructed in Repetition and Difference
Art History Pub Date : 2021-06-28 , DOI: 10.1111/1467-8365.12579
Katy Deepwell

This essay offers a close reading of Verdi Yahooda's work Photo Booth Classic (1974–present), its presentation as artists’ pages in n.paradoxa: international feminist art journal, 17, January 2006, and in the exhibitions Said (London: Camberwell Space, 2008) and Now! Now! In more than one place (London: Cookhouse and Triangle Space, Chelsea College of Art and Design, 2016) organized by the Black Arts and Modernism project. The differences in format and presentation over time, as well as the making of this work, as an action performed by the artist in monthly cycles over forty years, are considered in relation to other artworks, the use of documentation as medium, and questions about feminism, ethnicity and Jewishness. The aim is to move beyond the ready identification of this work as simply another example of a woman artist's performance made as if self-to-camera, or as identity politics.

中文翻译:

在重复和差异中重新构建身份/他异性

这篇文章仔细阅读了威尔第·雅虎达的作品Photo Booth Classic(1974 年至今),它在n.paradoxa:国际女权主义艺术杂志,2006 年 1 月 17 日,以及在展览Said(伦敦:Camberwell Space )中作为艺术家页面的展示, 2008) 和现在!现在!在不止一处(伦敦:Cookhouse and Triangle Space,切尔西艺术与设计学院,2016)由黑人艺术与现代主义项目组织。随着时间的推移,格式和呈现方式的差异,以及作为艺术家在四十年中每月循环执行的一项行动,这件作品的制作被认为与其他艺术作品、文档作为媒介的使用以及有关女权主义、种族和犹太人。目的是超越将这件作品简单地认定为女性艺术家表演的另一个例子,就好像自我对相机或身份政治一样。
更新日期:2021-06-28
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