Suchergebnisse

"Art historian and critic Sampada Aranke's Death's Futurity considers the importance of visual representations of death and corpses to the project of Black liberation, specifically for the Black Panther Party. Aranke uses photography, documentary films, journalistic print media, and political posters to construct a visual history of 1960s and 1970s Black radicalism. These archival objects all center death in some way-sometimes graphically-and she considers how these objects put forward a way of imagining Black futurity and liberation from the position of death. The book consists of three main chapters that critically analyze the murders of three Black Panther Party members-Bobby Hutton (1968), Fred Hampton (1969), and George Jackson (1971)"--

In Death's Futurity Sampada Aranke examines the importance of representations of death to Black liberation. Aranke analyzes posters, photographs, journalism, and films that focus on the murders of Black Panther Party members Lil' Bobby Hutton, Fred Hampton, and George Jackson to construct a visual history of the 1960s and 1970s Black Power era. She shows how Black radicals used these murders to engage in political action that imagined Black futurity from the position of death. Photographs of Hutton that appeared on flyers and posters called attention to the condition of his death while the 1971 documentary The Murder of Fred Hampton enabled the consideration of Hampton's afterlife through visual meditations of his murder. Printmaking and political posters surrounding Jackson's murder marked the transition from Black Power to the prison abolition movement in ways that highlighted the relationship between surveillance, policing, incarceration, and anti-Black violence. By foregrounding the photographed, collaged, filmed, and drawn Black body, Aranke demonstrates that corporeality and corpses are crucial to the efforts to shape visions of a Black future free from white supremacy

Abstract
"HAS ANYONE ELSE SEEN THESE." Scribed on a wall in pencil, this fragment served as crude wall text for a vitrine in David Hammons's 2019 exhibition at Hauser & Wirth in Los Angeles. The vitrine, filled with memorabilia, photocopies, and rare primary documents, was but one of many locations where Hammons displayed Hammons. To ask "Has anyone else seen these?" is to slyly pose a question that already has an answer: yes, or maybe, or no. Any answer to that question proves Hammons's point: that he himself is the subject who sees and the object to see. This methodological maneuver is part and parcel of Hammons's decades-long practice and serves to enact a Black aesthetic determination already sleeved in its own method. This article works to unpack how Hammons throws into methodological disarray the question of art's histories by his relentless invocation of Black aesthetic practices that deform, if not refuse, their own making.

Abstract
Sampada Aranke and Ayanah Moor dialogue on the myriad ways Moor intervenes upon art histories of abstraction in her studio practice. This conversation leads to threads and themes in her practice that open up avenues for rethinking liminality, suspension, and ongoingness that are central to this issue of liquid blackness. Moor calls her method "social abstraction," by reconsidering how abstraction, a practice mis-categorized as one that transcends identity, might be precisely the form for centering black subjectivity. Moor is invested in the racial and gendered aspects that might be latent in abstract practices; where, for example, collage does and does not serve as an operation for encountering black interior or romantic space. Throughout her work, there is a careful attention to restraint as a method of protection, precision, and engagement. Moor's enactment of the processual and suspended logics of form as an aesthetic and social process resonate in the worlds of her paintings as they also leap beyond the panel itself. It's almost as if Moor is allowing her viewer to relish in and embrace the unfixity of a shape, the emergence of a figure, the suspension of a line, as a way to embrace the ongoingness of their own becoming.

Preface / Huey Copeland -- A site of struggle / Janet Dees -- Making racial violence visible / Leslie M. Harris -- Functional abstractions : sensorial afterlives of the Black body / Sampada Aranke -- Black redaction, Black evidence : another testimony of Black life / LaCharles Ward -- Pausing at the threshold / Courtney R. Baker.