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Embodied avatars : genealogies of black feminist art and performance /

By: McMillan, Uri [author.].
Material type: materialTypeLabelBookSeries: Sexual cultures: Publisher: New York : New York University Press , 2015Description: 283 pages : illustrations ; 23 cm.ISBN: 9781479802111; 1479802115; 9781479852475; 1479852473.Subject(s): Performance art -- United States | African American women performance artists | Feminism in art | Identity (Philosophical concept) in artDDC classification: 704.042
Contents:
Introduction: Performing Objects -- Mammy Memory: The Curious Case of Joice Heth, the Ancient Negress -- Passing Performances: Ellen Craft's Fugitive Selves -- Plastic Possibilities: Adrian Piper's Adamant Self-Alienation -- Is This Performance about You?: The Art, Activism, and Black Feminist Critique of Howardena Pindell -- Conclusion: 'I've Been Performing My Whole Life'.
Summary: "Tracing a dynamic genealogy of performance from the nineteenth century to the twenty-first, McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment."
List(s) this item appears in: Spring 2021
Tags from this library: No tags from this library for this title.
Item type Current location Call number Status Date due
Non Fiction Non Fiction BardBerlinLibrary
2nd floor
704.042 MCM 2015 (Browse shelf) Available

Includes bibliographical references (pages 227-282) and index.

Introduction: Performing Objects -- Mammy Memory: The Curious Case of Joice Heth, the Ancient Negress -- Passing Performances: Ellen Craft's Fugitive Selves -- Plastic Possibilities: Adrian Piper's Adamant Self-Alienation -- Is This Performance about You?: The Art, Activism, and Black Feminist Critique of Howardena Pindell -- Conclusion: 'I've Been Performing My Whole Life'.

"Tracing a dynamic genealogy of performance from the nineteenth century to the twenty-first, McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment."

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