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Expanding the Discourse: Vol. I—The Politics of the “Other”

Expanding the Discourse: Vol. I—The Politics of the “Other”. Dan Collins Issues in Intermedia Arizona State University. ACT UP! Let the Record Show… 1987 installation at the New Museum, New York City. Gran Fury Untitled 1989 billboard. Gran Fury Untitled 1988 billboard. Gran Fury

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Expanding the Discourse: Vol. I—The Politics of the “Other”

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  1. Expanding the Discourse: Vol. I—The Politics of the “Other” Dan Collins Issues in Intermedia Arizona State University

  2. ACT UP! Let the Record Show… 1987installation at the New Museum, New York City

  3. Gran Fury Untitled 1989billboard

  4. Gran Fury Untitled 1988billboard

  5. Gran Fury Untitled 1990billboard

  6. Gran Fury Untitled 1988billboard

  7. conceived by Cleve Jones The NAMES Project, AIDS Memorial Quilt begun 1987fabric3 x 6 ft. panels

  8. conceived by Cleve Jones The NAMES Project, AIDS Memorial Quilt begun 1987(1992 installation in Washington, DC)fabriccurrently more than 44,000 3 x 6 ft. panels

  9. Keith Haring AIDS 85 1985oil and acrylic on linen116 1/2 x 119 1/4 in.

  10. Keith Haring Safe Sex 1987posters

  11. Keith Haring Ignorance = Fear: Silence = Death 1989billboard

  12. Keith Haring The Life of Christ 1990silver altarpiece, edition of 9

  13. Robert Mapplethorpe Self-Portrait 1988gelatin-silver print24 x 20 in.

  14. Andres Serrano Milk, Blood 1986Cibachrome print, silicone, plexiglass, wood frame39 3/8 x 26 3/4 in.edition of 10

  15. Andres Serrano Piss and Blood XXVI 1987Cibachrome print, silicone, plexiglass, wood frame40 x 60 in.edition of 4

  16. Andres Serrano Blood and Semen 1990Cibachrome print, silicone, plexiglass, wood frame15 5/8 x 32 1/8 in.

  17. General Idea (Felix Partz, AA Bronson, Jorge Zontal Playing Doctors 1992poster

  18. General Idea AIDS 1987poster

  19. General Idea One Day of AZT / One Year of AZT 1991installation at the Power Plant Gallery, Toronto

  20. A.A. Bronson Jorge, February 3, 1994 1994/2000photographs

  21. A.A. Bronson Felix, June 5, 1994 1994/99photograph

  22. David Wojnarowicz Untitled “One Day this Kid” 1990photostat28 x 37 1/4 in.

  23. David Wojnarowicz “When I Put My Hands on Your Body” 1990gelatin-silver print and silkscreened text in museum board 2 ft. 2 in. x 3 ft. 2 in.

  24. David Wojnarowicz Untitled 1988-9gelatin-silver print38 x 26 in.

  25. David Wojnarowicz Untitled (Face in Dirt) 1993gelatin-silver print28 1/2 x 28 1/2 in.

  26. David Wojnarowicz Subspecies Helms Senatorious 1990color photograph19 x 24 1/2 in.

  27. Tim Miller My Queer Body: Performance of Desire 1992performance

  28. Holly Hughes Clit Notes: A Sapphic Sampler 1996book containing prior performance scripts and notes

  29. Holly Hughes Preaching to the Perverted 2000performance

  30. Karen Finley We Keep Our Victims Ready 1989performance

  31. Karen Finley Shut Up and Love Me 2001performance

  32. Renee Cox Yo Mama’s Last Supper 1996five color prints

  33. Renee Cox The Yo Mama andYo Mama at Home 1993gelatin-silver printseach 82 x 47 in.

  34. James Luna (Luiseño) The Artifact Piece, 1987, was a performance/installation that questioned American Indian presentation in museums-presentation that furthered stereotype, denied contemporary society and one that did not enable an Indian viewpoint.  The exhibit, through 'contemporary artifacts' of a Luiseño man, showed the similarities and differences in the cultures we live, and putting myself on view brought new meaning to 'artifact.'  (Durland 37)

  35. Jimmy Durham all that is solid melts into air, 2008

  36. Edgar Heap of Birds (Cheyenne/Arapahoe)

  37. Kade Twist (Cherokee) Suburban Bush is from a series of two-dimensional work titled Semiotic Warfare. The series utilizes short, stark, poignant and ironic phrases written in Cherokee syllabary, and a variety of media, to examine postcolonial signifiers that define contemporary geographies, economic markets, political bodies and intercultural intercourse throughout North America. In this work the Cherokee syllabary becomes a transformative medium of Cherokee propagation and cultural/political self-determination. By engaging the viewer, the architecture of a particular space and the broader contexts of a particularized regional geography the work becomes a semiotic vehicle of hemispherical decolonization — physically, politically and cognitively.

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