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Hollie MacKenzie and Iain MacKanzie

In this article we focus on the potential for an alignment of certain feminist artistic practices and poststructuralist conceptions of critique that may enable ways of theorizing practices of resistance and engender ways of practicing resistance in theory, without the lurch back into masculinist forms of dogmatism. It will be claimed that an ontological conception of art, considered as that which makes a difference in the world, can not only challenge the primacy of the dogmatic and masculine ‘subject who judges’, but also instill ways of thinking about, and ways of enacting, feminist artistic encounters with the capacity to resist dogmatism. The theoretical stakes of this claim are elaborated through complimentary readings of Deleuze and Guattari’s constructivist account of philosophy and Irigaray’s feminist explorations of what it means to think from within the 'labial', rather than from the position of the dominant phallic symbolic order. We argue that this creative conjunction between Irigaray, Deleuze, and Guattari provides the resources for a conceptualisation of both feminist artistic practice and the critical practice of poststructuralist philosophy as forms of resistance to the dominant patriarchal order, in ways that can avoid the collapse back into masculinist forms of dogmatism. Revel’s discussion of the role of constituent rather than constituted forms of resistance is employed to draw out the implications of this position for contentious politics. It is concluded that constituent practices of resistance can be understood as a challenge to the phallogocentric symbolic order to the extent that they are practices of a labial art-politics.

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The Art of Slow Sociality

Movement, Aesthetics and Shared Understanding

Jo Vergunst and Anna Vermehren

This article presents reflections on the theme of sociality from a mass-participation art event in the town of Huntly in north-east Scotland in 2009. Drawing on Alfred Schütz's notion of the 'consociate' and related concepts, our efforts are directed towards understanding the nature of sociality that the event created for the people involved in it. We consider slowness as an actual experience through pacing and cadence, and also the tensions between experience and the requirement that art should have measureable impact.

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Roger Sansi

Walking has become a common form of practice in contemporary art. Recent anthropology has been influenced by art walking practices. In this paper, however, I show significant differences between art walking and what we could call ‘Walking anthropology’. The former is more explicitly engaged, in many cases, in the ‘politics of walking’. These politics, on the one hand, could be based on ideas of walking as an everyday prefiguration of a future utopian society. Yet on the other hand, walking art could also be a critique of existing forms of everyday power and mobility as they are inscribed in the landscape and the city. In walking anthropology these concerns with the politics of walking seem less evident. Comparing artistic and anthropological practices and discussions of walking, my final objective is to critically evaluate the concepts of ‘politics’ and ‘utopia’ in art and anthropology.

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David Art

integration possible. Time will tell if 2017 was the year that this formula was abandoned. Notes 1 See David Art, “The Containment of the Radical Right in Europe,” Ethnic and Racial Studies 38, no. 8 (2015): 1347–1354. 2 John Lewis Gaddis

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Anthropology, Art, and Folklore

Competing Visions of Museum Collecting in Early Twentieth-Century America

Ira Jacknis

At the turn of the last century, it was not at all a settled question as to what kinds of objects museums should collect. The boundaries between art and anthropology and between art and craft were fluid and contested. In the great age of museum

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Echo and the Ecumene

Grasping the Estonian National Museum

Art Leete and Patrick Laviolette

shortcut through the fields, arriving fifteen minutes too early. ‘I expected Art to arrive around ten minutes early because this is the kind of person he strikes me as being. So I should have gone in and used the loo … Instead, I couldn't resist the chance

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The Art of Doubting

A Christian Perspective

Daniela Koeppler

sensual perception. Before I continue, I may perhaps say a few things about myself: I was born in Northern Germany, baptised in the Protestant Church, and my perspective on the ‘Art of Doubting’ will be a Christian-Protestant and a German-European one. I

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Barbara Roche Rico

In October 2015, the artists El Mac and Cero unveiled a mural of Nicholasa Mohr as a part of the International Monument Art Project on Lexington Avenue and 111th Street in East Harlem, New York. The mural, which covers the full side of a building

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“[W]hat Beauty in Oriental Art Means”

Asian Arts, Soft Diplomacy, and New Zealand Cultural Nationalism—The Loan Exhibition of Oriental Art, Christchurch, 1935

James Beattie and Louise Stevenson

Depression-era Aotearoa New Zealand, and considering the place of Chinese art in the developing cultural nationalism of New Zealand in this period. The detailed case study of this article also responds to a recent plea by Conal McCarthy for studies in New

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Learning from Greverus

Pathways towards Another Aesthetic in Anthropology

Judith Laister

The emergence of modern scientific thought has been characterised by a separation from the realm of art. Among others, German anthropologist Ina-Maria Greverus since the 1970s, in the context of the worldwide critique of the discipline’s formats, pioneered new approaches to articulate anthropological work and findings with and through artistic practices.