November 2016
www.contemporaneity.pitt.edu
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We are pleased to announce the publication of our 5th volume:
Volume 5: “Agency in Motion”
Examining the concept of agency in visual culture, contributors writing from diverse perspectives and disciplines open up new avenues for understanding social and aesthetic interactions. Spanning the globe, time, and media, this edition questions the real and potential power of individuals, communities, networks, and objects.
Annemarie Iker traces the footsteps of art historian Georgiana Goddard King in her discussion of King’s pioneering photographic approach to Spanish medieval art.
Greg Kafer considers the potential of Trevor Paglen’s limit-telephotography to mobilize resistive agency.
Elizabeth Hawley deconstructs the “Real Indian” in James Luna’s performances and related photographic histories.
Ingrid Nordgaard finds political agency of the suffering body in the photographs of Boris Mikhailov and public actions of Petr Pavlensky.
Jodi Kovach examines Carlos Garaicoa’s drawing-photograph diptychs of lost architectural sites—opening up new beginnings within the disarray of the present.
Special section: Curatorial Agency
Erin Peters rallies curators toward a practice of catalyzing viewer agency.
Stephen Gilchrist talks to Henry F. Skerritt about curating Everywhen: The Eternal Present in Indigenous Art from Australia (Harvard Art Museums, Cambridge, MA)
Critical reviews
Carlos Kong seeks to put the “queer” back in SuperQueeroes: Our LGBTI Comic Book Heroes and Heroines (Schwules Museum*, Berlin)
Loretta Ramirez finds a fragmented alternative to authoritative histories in David Lamelas’ The Desert People (Hammer Museum, Los Angeles)
Be part of the publishing movement that is Contemporaneity
Visit our website to submit to upcoming editions. Forthcoming in 2017: volume 6, “Who, When, and Where: Art and Identification across Borders.”
Contemporaneity seeks submissions that deal with the complexity of art and identification in time and space. Submissions that deal with the effect of borders on national and regional identities are particularly welcome; we also encourage historical scrutiny and theoretical analysis on borders and race, ethnicity, class, gender, sexuality, religion, and other categories of identification. How have different identities experienced border or boundary crossings differently? What borders have been erected to insulate normative identities and how have the arts served to reify or challenge these essentialist categories of identity? How has the articulation of concepts of identity evolved and inflected past and present discussions of particular identities?
