Suchergebnisse

Abstract
The most recent exhibited work of photographer Del LaGrace Volcano is a triptych from the series Herm Body (2011–), which presents Volcano's front and back torso conspicuously pared down, headless, and nude. Whereas in conventional film photography, negatives are used in the darkroom to make positive images (photographic prints), in the outmoded medium Polaroid 665, which Volcano employs, the positive image is used to make a (unique) negative. The generativity of the Polaroid 665 negative in Volcano's hands is not purely photographic; it is also affective. My essay explores the questions, what are the stakes and what are the consequences in a (photographic) negative generating and reflecting the artist's self-image? I attend to the vulnerabilities of the technical process as well as the strong formal and conceptual references to intersex bodies in medical photography and to aging bodies in images from John Coplans. In short, I propose that the Herm Body series shows how negative affect is productive and political, even when it appears to suspend agency.

Abstract
This section includes eighty-six short original essays commissioned for the inaugural issue of TSQ: Transgender Studies Quarterly. Written by emerging academics, community-based writers, and senior scholars, each essay in this special issue, "Postposttranssexual: Key Concepts for a Twenty-First-Century Transgender Studies," revolves around a particular keyword or concept. Some contributions focus on a concept central to transgender studies; others describe a term of art from another discipline or interdisciplinary area and show how it might relate to transgender studies. While far from providing a complete picture of the field, these keywords begin to elucidate a conceptual vocabulary for transgender studies. Some of the submissions offer a deep and resilient resistance to the entire project of mapping the field terminologically; some reveal yet-unrealized critical potentials for the field; some take existing terms from canonical thinkers and develop the significance for transgender studies; some offer overviews of well-known methodologies and demonstrate their applicability within transgender studies; some suggest how transgender issues play out in various fields; and some map the productive tensions between trans studies and other interdisciplines.

In this article, the authors take up the historical figure of Dr Betty Paërl, who has surprisingly turned up in very different kinds of specialised archives. The white mathematics professor was located in IHLIA LGBT+ Heritage, the largest queer heritage collection in Europe, as a notable SM sexpert and spokesperson on transgender politics, and also found during archival research into the anti-(neo)colonial struggles of Suriname against the Dutch. Upon closer inspection of the materials, the authors find the recurrent image/item of the whip that presses them to carefully think through how the archive of Dr Paërl casts light on a history that Katherine McKittrick calls being 'in the shadow of the whip'. The article aims to combine an analysis of these versions of the whip in different visual and discursive registers to detect the liberatory politics underlying her activisms. To do so, the authors develop the intersectional model of the kaleidoscope employed by Dutch Black, migrant and refugee (BMR) feminist theorists to grasp the shifting patterns of power that Paërl battled and embodied as an activist of the anticolonial struggle, for sex workers' rights, for kinky sex and for transgender people. This is all the more important in the historical study of transgender visual materials that most often arrive in archives via medical and police photography or pornographic materials. The historical researcher, the article argues, should be wary of (re)producing a static vision that would reduce transgender figures to sex and gender politics, or eclipse a vision of trans politics that dilates beyond sexuality.

"This book examines how renewed forms of artistic activism were developed in the wake of the neoliberal repression since the 1980s. The volume shows the diverse ways in which artists have sought to confront systemic crises around the globe, searching for new and enduring forms of building communities and reimagining the political horizon. The authors engage in a dialogue with these artistic efforts and their histories - in particular the earlier artistic activism that was developed during the civil rights era in the 1960s and 70s - providing valuable historical insight and new conceptual reflection on the future of aesthetic resilience. This book will be of interest to scholars in contemporary art, history of art, film and literary studies, protest movements, and social movements"--

This roundtable considers trans theory's status as a site of thinking racialization, empire, political economy, and materiality in the current historical, institutional, and political moment. We ask, what does it mean to think trans in a time of crisis?, and what is the place of critique in a crisis?, acknowledging that global crises are not insulated from trans, and trans is not insulated from the world. This roundtable looks to materialist formations to think trans now, including a new materialism premised on thinking about trans embodiment outside of trans as subject position, the materialism of objects and commodities, and a historical materialism shaped by queer of color critique.