Productive failure
Writing queer transnational South Asian art histories
by Amelia Jones, Marsha Meskimmon, Alpesh Kantilal Patel
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Afghanistan, Aland Islands, Albania, Algeria, American Samoa, Andorra, Angola, Anguilla, Antarctica, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Bouvet Island, Brazil, British Indian Ocean Territory, British Virgin Islands, Brunei, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde, Cayman Islands, Central African Republic, Chad, Chile, China, Christmas Island, Cocos [Keeling] Islands, Colombia, Comoros, Congo [DRC], Congo [Republic], Cook Islands, Costa Rica, Cote d'Ivoire, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Djibouti, Dominica, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Falkland Islands [Islas Malvinas], Faroe Islands, Fiji, Finland, France, French Guiana, French Polynesia, French Southern Territories, Gabon, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guadeloupe, Guam, Guatemala, Guernsey, Guinea, Guinea-Bissau, Guyana, Haiti, Heard Island and McDonald Islands, Honduras, Hong Kong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Jersey, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Myanmar [Burma], Namibia, Nauru, Nepal, Netherlands, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, Niue, Norfolk Island, Northern Mariana Islands, North Korea, Norway, Oman, Pakistan, Palau, Palestinian Territories, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Pitcairn Islands, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Saint Kitts and Nevis, Saint Lucia, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Samoa, San Marino, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, Somalia, South Africa, South Georgia and the South Sandwich Islands, South Korea, Spain, Sri Lanka, Sudan, Suriname, Svalbard and Jan Mayen, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tajikistan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Tuvalu, U.S. Minor Outlying Islands, U.S. Virgin Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City, Venezuela, Vietnam, Wallis and Futuna, Western Sahara, Yemen, Zambia, Zimbabwe, Bonaire, Sint Eustatius, Saba, Curaçao, Saint Barthélemy, Saint Martin, French part, Sint Maarten (Dutch Part), South Sudan
Endorsements
This monograph sets out to write new transnational South Asian art histories - to make visible histories of artworks that remain marginalised within the discipline of art history. However, this is done through a deliberate 'productive failure' - specifically, by not upholding the strictly genealogical approach that is regularly assumed for South Asian art histories. To investigate what such a claim might mean for how we 'do' art history, I consider a broad array of fairly conventional frameworks (authorship, subject matter, form) but only as points of departure for exploring artworks and broader visual culture. I also examine 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history. In effect, I am queering, or making unstable, conventional notions of writing South Asian art histories. Queer also refers to my own identification and the focus on sexuality and gender in the book. In the second-half of the book, art historical 'writing' encompasses a range of practice-led research forms - autoethnographic narratives relating experiential knowledge of space, curatorial knowledge-making via exhibitions I organized, and affective encounters with visual culture. Overall, my queering of art history aims to offer a more sited, nuanced and encompassing framework and method for generating art history regarding South Asian transnational art by more capably acknowledging the complex web of intersecting factors within which art and art history is produced and the different forms of knowledge-production we might count as art history.
Reviews
This monograph sets out to write new transnational South Asian art histories - to make visible histories of artworks that remain marginalised within the discipline of art history. However, this is done through a deliberate 'productive failure' - specifically, by not upholding the strictly genealogical approach that is regularly assumed for South Asian art histories. To investigate what such a claim might mean for how we 'do' art history, I consider a broad array of fairly conventional frameworks (authorship, subject matter, form) but only as points of departure for exploring artworks and broader visual culture. I also examine 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history. In effect, I am queering, or making unstable, conventional notions of writing South Asian art histories. Queer also refers to my own identification and the focus on sexuality and gender in the book. In the second-half of the book, art historical 'writing' encompasses a range of practice-led research forms - autoethnographic narratives relating experiential knowledge of space, curatorial knowledge-making via exhibitions I organized, and affective encounters with visual culture. Overall, my queering of art history aims to offer a more sited, nuanced and encompassing framework and method for generating art history regarding South Asian transnational art by more capably acknowledging the complex web of intersecting factors within which art and art history is produced and the different forms of knowledge-production we might count as art history.
Author Biography
Dorothy C. Rowe is Senior Lecturer in History of Art at the University of Bristol;
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date June 2017
- Orginal LanguageEnglish
- ISBN/Identifier 9781784992545 / 1784992542
- Publication Country or regionUnited Kingdom
- Primary Price 110 USD
- ReadershipGeneral/trade; College/higher education; Professional and scholarly
- Publish StatusPublished
- Dimensions234 X 156 mm
- SeriesRethinking Art's Histories
- Reference Code5280
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