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.
Hollie MacKenzie and Iain MacKanzie
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.
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, Strategies of Containment (New York, 1982). 3 Sean Hanley, “The Czech Republicans 1990–1998: A
Competing Visions of Museum Collecting in Early Twentieth-Century America
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
A Christian Perspective
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
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
Hidden Jokes and the Reinvention of Animistic Ontologies in Southwest China
ecological jargon in the first place. Drawing on my fieldwork among the Nuosu of Southwest China, my aim in this article is to show how the ‘art of capture’ underpins the native reinvention of animistic ontologies that shadow our fieldwork efforts at
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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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.
Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth
itself and recognize, in what it sees, the ‘other side’ of its power of looking” (2004, 294). This looking from the “other side” can also be extended to art. It is “the mountain itself … from out there” that “makes itself seen by the painter,” he writes