Embodied avatars : genealogies of black feminist art and performance /
By: McMillan, Uri [author.]
.
Material type: ![materialTypeLabel](/opac-tmpl/lib/famfamfam/BK.png.pagespeed.ce.MERO07ZlBb.png)
![](/opac-tmpl/bootstrap/images/15x15xfilefind.png.pagespeed.ic.h79nGHhuct.png)
![](/opac-tmpl/bootstrap/images/15x15xfilefind.png.pagespeed.ic.h79nGHhuct.png)
![](/opac-tmpl/bootstrap/images/15x15xfilefind.png.pagespeed.ic.h79nGHhuct.png)
![](/opac-tmpl/bootstrap/images/15x15xfilefind.png.pagespeed.ic.h79nGHhuct.png)
Item type | Current location | Call number | Status | Date due |
---|---|---|---|---|
![]() |
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."
There are no comments for this item.