22 research outputs found
Review of \u3ci\u3eCuster on Canvas: Representing Indians, Memory, and Violence in the New West\u3c/i\u3e By Norman K. Denzin
This thematic collection exploring Last Stand paintings by white and First Nations artists has three origins. As Denzin notes, it extends his 2008 collection, Searching for Yellowstone: Race, Gender, Family, and Memory in the Postmodern West, also published by Left Coast Press. Both books gather Denzin’s efforts to involve himself reflexively with the West. Spurred by an engagement with a politics of representation, Denzin locates Custer on Canvas in relation to the “performance turn” and its “new writing practices.” A third origin is personal: Denzin’s effort to engage memories that reach from childhood into contemporary, professional encounters. One in particular that provides narrative direction is a question posed by Denzin’s granddaughter viewing two Last Stand paintings at the Whitney Gallery of Western Art in Cody, Wyoming: why do they represent events differently
Review of \u3ci\u3eIn the Remington Moment\u3c/i\u3e by Stephen Tatum
Stephen Tatum\u27s study is motivated by two objectives. One is to read Remington\u27s painterly gestures in the light of their production. His second takes up a question Brian Dippie posed a decade ago when reflecting on the lack of critical and academic respect that dogs western art. Can the work of an artist like Remington-nostalgic even in his time-be considered as more than a relic in ours? Might it still have an affecting presence a century after Remington\u27s passing? Tatum\u27s book is a palpable affirmation
Review of \u3ci\u3eCuster on Canvas: Representing Indians, Memory, and Violence in the New West\u3c/i\u3e By Norman K. Denzin
This thematic collection exploring Last Stand paintings by white and First Nations artists has three origins. As Denzin notes, it extends his 2008 collection, Searching for Yellowstone: Race, Gender, Family, and Memory in the Postmodern West, also published by Left Coast Press. Both books gather Denzin’s efforts to involve himself reflexively with the West. Spurred by an engagement with a politics of representation, Denzin locates Custer on Canvas in relation to the “performance turn” and its “new writing practices.” A third origin is personal: Denzin’s effort to engage memories that reach from childhood into contemporary, professional encounters. One in particular that provides narrative direction is a question posed by Denzin’s granddaughter viewing two Last Stand paintings at the Whitney Gallery of Western Art in Cody, Wyoming: why do they represent events differently
Framing A House, Photography and the Performance of Heritage
Using data from qualitative research on vernacular housing, this paper discusses the role of photography in the heritage restoration of an outport community in Newfoundland. An assessment of the instrumental role usually played by photography in ethnographic and material culture research is made in light of the vernacular uses of photography. The socially coded and symbolic character of this built environment signals distinct taste and class cultures which are performed in narrative and material media. Photography contributes to the local performance of the past and the sign value of the built environment: it legitimates the invention of heritage and at the same time offers a means for local residents to contest dominant codings of their houses. In developing this case study, the role of photography will be considered from a variety of perspectives: as a research tool for the ethnography of communication; as a resource that offers access to categories of local knowledge; as a communicational practice that provides a corpus of texts for oppositional readings; and as a problematic representational form which raises questions about the medium in relation to research.Cet article fait l’analyse de la photographie en tant que ressourcedocumentaire dans le cadre d’un projet de restauration patrimoniale à Terre-Neuve. L’usage vernaculaire de la photographie nous aide à mieux comprendrele rôle significatif que joue la photographie au sein de l’ethnographie et dans lesrecherches sur la culture matérielle. Nous pouvons décoder la symbolique del’environnement architectural d’un village, par exemple, en regardant de près lafaçon dont certaines distinctions sociales et culturelles se transmettentnarrativement. La photographie fait ainsi partie de la «théâtralisation» du passé,de l’environnement bâti: elle légitime l’«invention du patrimoine» tout enpermettant aux habitants de contester l’idéologie dominante et son interprétationde leurs propres maisons
Gerald POCIUS, A Place to Belong: Community and Order in Everyday Space in Calvert, Newfoundland. Athens: The University of Georgia Press, 1991, 350 pp. / Gerald POCIUS, Living in a Material World: Canadian and American Approaches to Material Culture, St. John's: Institute of Social & Economic Research, 1991, 290 pp.
John DORST, The Written Suburb: An American Site, an Ethnographic Dilemma (Philadelphia, University of Pennsylvania Press, 1989, 220 p., ISBN 0-8122-1282-7) Alexander WILSON, The Culture of Nature: North American Landscape from Disney to the Exxon Valdez (Toronto, Between the Lines, 1991, 335 p., ISBN 0-921284-52-7) Sharon ZUKIN, Landscapes of Power: From Detroit to Disney World (Berkeley, University of California Press, 1991,326 p., ISBN 0-520-07221-9)
Christine Sowiak : Substance Between Walls, Observed
This unconventional catalogue, made to accompany Sowiak's exhibition "substance between walls, observed", contains a twelve-part self-reflective text by Rusted based on conversations with the artist. Light, the role of the observer, silence and heterotopia are discussed, as well as the space of representation and the language of the body. 28 bibl. ref