This framework, whose orientation is temporal as much as it is spatial, charts the plantation as a point of origin and acceleration for our current ecological crisis and traces its unequal impact on marginalized populations worldwide.
Fundamental to each [of these contributions] is decentering what we define as normal—both as an act of resistance to the ideology of normalcy but also, ultimately, as a way to prioritize principles centered on disability justice that privilege the generative and sustaining knowledge of queer, crip, BIPOC folks.
In each of the examples studied in this essay, artists deployed an affected lack of virtuosity in their early video artworks to confront established hierarchies—in short, to establish video as a radical medium.
This process of what I term a “re-membering” of history through Weems’s body and gaze indicts the landscape and the buildings that populate as key players in multiple histories.
Patriotism can involve loving one’s homeland for the diversity of cultural enclaves it encompasses, while not excluding the rest of humanity or claiming the superiority of our homeland to every other on earth. To be sure, global thinking (in the form of economic globalization or cultural imperialism) has a lot of negative baggage attached to it, but having a cosmopolitan outlook should be encouraged in tandem with patriotic thinking, not seen as its opposite.
Recent American art publications and exhibitions increasingly have engaged multimedia projects that dissolve many previous constraints on mingling painting and sculpture with popular art and visual culture. Coney Island, New York City’s “playground of the people,” serves as the perfect subject for such a study.
In 1984, the city of Los Angeles hosted the twenty-third Olympics, a spectacular display of multinational unity under the banner of classical, humanist ideals.
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