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"Plastics History Exhibitions"
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The Humanity Game: Art, Islam, and the War on Terror
This essay examines the connections between art and politics in Middle East arts events in the U.S. since 9/11/2001. It critiques the universalist assumptions about humanity and the agentive capacity of art to build bridges of understanding in contexts of so-called civilizational conflict-assumptions that have strong roots in anthropology. By juxtaposing evidence of how the notion of \"humanity\" is deployed in exhibitions of Palestinian art with an analysis of the three more predominant types of arts events (historical Islamic art, Sufi arts, and contemporary art by Muslim women), the essay demonstrates how American secular elite discourse on Middle Eastern art corresponds to that of the \"War on Terror.\"
Journal Article
There Is No Kurdish Art
This essay considers the powerful practice of art in Iraqi Kurdistan as it balances practices and nationalities, values and identities to create an aesthetic that is uniquely Kurdish in its expression. This examination of contemporary Kurdish art begins by considering the challenges to writing about the visual arts in Kurdistan and discusses some of the indigenous projects that have worked to create an arts infrastructure to preserve and promote the arts in the city of Sulaimani. While reflecting on Kurdish legacies within Iraq, this essay further interrogates the contemporary products of a combined heritage and questions what pieces of this historical legacy will be brought forward into the future of Kurdistan.
Journal Article
Archiving a Life's Work: An Interview with Ismail Khayat
Meriwan Abdullah interviews Kurdish artist Ismail Khayat about the importance of documenting the work of Kurdish artists and how art can express the stories and record the histories of the Kurdish people.
Journal Article
From Outsider to Established - Explaining the Current Popularity and Acceptability of Tattooing
Tattooing is a practice long associated with social outsiders - sailors, criminals, bikers and women of disrepute. In recent years, however, the practice has become increasingly popular, and acceptable, in mainstream culture as these marks of distinction appear on an ever greater number of bodies. Drawing on ethnographic fieldwork, academic literature, and content analysis of popular media, I propose that four inter-related developments have contributed to the redefinition of tattooing: the increasing importance of the body as a site for constructing identity; processes of cultural diversity and globalization; the increased visibility of the practice in popular culture; and attempts to legitimise the practice as an acceptable art form both within academia and popular culture. By drawing together these inter-related developments this paper demonstrates how Elias' theories of establishedoutsider relations provides an understanding of the processes that lead to changing statuses for certain cultural practices.
Journal Article
Encounters and the Diasporic Art of Africa: An Interview with Allyson Purpura, Curator of African Art, Krannert Art Museum, University of Illinois
In this paper, Jasmin Habib interviews Allyson Purpura, Curator of African Art at the Krannert Art Museum about the reinstallation of \"Encounters: The Arts of Africa.\" In the interview, they discuss how the objects on display have journeyed across the ocean as well as across epistemological categories tied to colonialism and the expansion of empire. The idea of \"encounter\" lies at the heart of this exhibition: the sometimes fraught histories of encounters between objects; the repurposing of tradition-based art into contemporary artworks; and, of course, the politics of display and the encounter between visitors to the museum and the artworks. Dans cet article, Jasmin Habib interview Allyson Purpura, curateur d'art africain au musée d'art Krannert au sujet de la ré-installation « Encounters : The Arts of Africa ». Au cours de l'entrevue, elles discutent comment les objets exposés ont traversé aussi bien les océans que les catégories épistémologiques liées au colonialisme et à l'extension d'empire. L'idée de la « rencontre » siège au cœur de cette exposition où se tissent les histoires de rencontres parfois tendues entre les objets, la re-détermination des arts issus de la tradition dans des œuvres contemporaines et, bien sûr, les politiques d'exposition et la rencontre entre les visiteurs et les œuvres d'art.
Journal Article
Writing Artists into History: Dumile Feni and the South African Canon
In this paper I seek to establish a more secure art historical framework on which to hang studies of individual modernist artists in South Africa in the middle of the twentieth century by examining the work of Dumile against the background of the retrospective exhibition of his work in 2005, the resultant monograph (Dube 2006), and the claims made for Dumiles status in the art historical record in this context. THE INTERNATIONAL ARTIST Even though there is much in the works from exile ihat is about Dumile as an African man in an alien environment, there is more of him as an astute observer of human foiHes and a maker of images which digest those foibles.
Journal Article
Mami Wata: Arts for Water Spirits in Africa and Its Diasporas
MAMI WATA AS ARTISTS' MUSE In addition to their continually transforming histories of influence in Africa and its diasporas, Mami Wata and other African and African Atlantic water spirits have gained an even wider audience, as well as new meanings and import, by capturing the imaginations of a number of contemporary artists-women and men from Africa, Europe, North America, and the Caribbeanwho have found in Mami Wata and her cohorts a highly intriguing subject matter.
Journal Article
Modern Art Patronage and Democratic Citizenship in Japan
Wakimura Yoshitarō, a prominent Japanese economics professor and art collector, helped establish or sustain at least eight art museums in postwar Japan. He did so to create important institutions of democratic empowerment rather than nationalist displays of power. The crucial context was defeat in World War II, which left many Japanese, including Wakimura, committed to taming capitalism. Wakimura was particularly interested in creating new practices of art appreciation that could mediate relations between potentially antagonistic groups of Japanese, and in building museums as fresh spaces to house these newly egalitarian relationships. He emphasized the value to society created when individuals developed their aesthetic and thus political judgment. His efforts help explain the proliferation of both public and private art museums in postwar Japan as well as the nature of postwar political culture.
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South Africa After the Ball: Art and the World Cup 2010
Discusses the flood of creative activity that took place in South Africa in the six years leading up to the country's hosting of the FIFA Soccer World Cup in 2010. Notes that much of this artistic production was spontaneous and instigated by the person on the street, with reference to music, dance and performance, beaded items and the clothes and accessories playfully fashioned from the national flag. Details exhibitions mounted by major institutions during this period, such as 'Halakasha!' at the Wits Gallery which explored the significance of football in South African culture, highlights public art works commissioned by the World Cup stadia, and describes other informal events, such as beach sculptures and the craze for decorated vuvuzelas.
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