Stereoscopic visions: reading colonial and contemporary African photography

This piece argues for the importance of critical engagements with photographs in order to explore and rethink the past, to reflect on the present and to imagine the future. It provides a brief overview of the articles that constitute the first part of the Social Dynamics special issue on photography in Africa, a collection that contributes to the growing body of scholarship that deepens our understandings of the significance of photography on the continent.     

In search of African history: the re-appropriation of photographic archives by contemporary visual artists

The digital revolution has fundamentally changed our relationship to archives, by accelerating their “dusting off” and their re-appropriation, particularly in the art world. This article will show the ways in which some contemporary visual artists use new digital technologies to provide new ways of storing, reading and retrieving contemporary African history. Such artists do so by revisiting diverse forms of archives that are mainly photographic, and which were produced during the colonial and independence eras.     

Beyond the Static Image: Tee Corinne's Roles as a Pioneering Lesbian Artist and Art Historian

While Tee Corinne has been widely recognized as a preeminent lesbian and feminist artist of the last forty years, little has been written about her as an artist or art historian in any substantial way. This article attempts to shed light on Corinne's investment in creating explicitly sexual lesbian visual art and art historical writings that put pressure on the categories of artist and art historian between the 1970s and early 2000s. Corinne's work manages to fulfill feminist ideals while also working outside of the norms set up in both the lesbian and mainstream realms of art and art history.     

Abandoned negatives,Themeless Parks: images of contemporary China in two photographic projects

Abstract

This article juxtaposes two photographic projects to illustrate ways of perceiving everyday space in contemporary China: on the one hand, ‘Silvermine Project’ (2009–2013), by French collector and editor Thomas Sauvin, recycles a vast collection of abandoned film negatives from the 1980s to the early 2000s, and subsequently ‘curates’ these amateur images into the frame of a quasi-ethnographic approach. On the other hand, Hong Kong photographer Dustin Shum’s ‘Themeless Parks’ (2008) presents a series images of public parks in Chinese cities and towns. The two projects propose different readings of the ‘postsocialist’ condition in contemporary China. While the domestic shots curated by Sauvin actively mobilise individual and national identities in private and public spaces, Shum’s compositions of shape, colour and architectural density reveal a highly orchestrated ‘China’ that pre-empts the emergence of an individual identity. This paper analyses the textual articulations of individuality, space, and temporality in the two projects.     

Historical Experience and the Haitian Revolution in the History Classroom

The article examines a mainstream curricular unit on the Haitian Revolution, centered on a culminating role-play activity. Cultural studies, subaltern studies, and hermeneutics are applied as theoretical frameworks to read the curriculum unit and its activities. These theoretical lenses sharpen an understanding of what it means to experience history in the classroom. These lenses are used to consider the political relations of power within the historical moment being studied and the political notions of power within the production of historical knowledge itself. The author conducts an analysis of the epistemological and hermeneutic problem spaces within this curriculum, with particular attention to how this curriculum unit might be translated into an urban school setting that accounts for marginalized student positions.     

Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

Social Theory Across Disciplinary Boundaries: Cultural Studies and Sociology

This essay proposes that sociology can learn from social theory developed in the humanities. In the face of recent challenges to sociological explanations of social outcomes (from rational choice and economic theory, cognitive psychological theories of intelligence, and communitarian social philosophy), social theory should specify the constitutive force of social signification. After identifying a key weakness in theoretical approaches currently available in sociology, the inadequacy of various conceptions of the social, I analyze three significant new works in cultural studies in order to sketch out alternative ways of defining and measuring the force of social signification. The essay concludes with an attempt to establish the basis of a dialogue between cultural studies and sociology.     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

Visitors to modern and contemporary art museums: towards a new sociology of ‘cultural profiles’

Sociologists traditionally focus on the power of socio‐economic variables as drivers of attendance at museums. However, this research runs the risk of a certain socio‐economic reductionism which fails to register the aesthetic dimensions of cultural consumption. To remedy this, I propose a new focus on cultural profiles beyond the prism of SES, which allows us to better interpret the role of the art museum visit in visitors' daily life. The cultural profile is defined as a set of cultural, creative and leisure preferences and activities, towards various forms of art, which classify and can be classified. I use multiple correspondence analysis to examine the nature of cultural profiles among visitors of six museums of modern and contemporary art in Belgium. Six different cultural profiles are defined, each a ‘bricolage’ of different classifying registers that structure and define practices and tastes. My approach allows us to reconcile and elaborate current interests in cultural sociology about the relationship between high versus low culture (Bourdieu), experimentation versus classicism, transgression versus conservatism and omnivores versus univores (Peterson).     

Framing interior: race,mobility and the image of home in South African modernity

This paper explores the depiction of dwellings in order to locate the emergence of a particular framing of the interior in South Africa. I suggest that in the first half of the twentieth century, images of domestic spaces pointed both to racially distinct interiors and racialised forms of interiority. As an aesthetic technology of the late nineteenth century, photography aided in the production of visual motifs that fixed the appearance of race in a new way, and located such an appearance in particular places. The visual intertwining of race and place – designating racially proper and improper places – was instrumental to apartheid’s attempt to curtail racial mixing and unregulated mobility. In contrast with the imposed movement engendered by migrant labour, I suggest that the figure of the interior becomes a privileged standpoint from which to view the triumph of race as a form of fixity in modern South Africa.     

Re-covered: Wangechi Mutu,Kenyatta A.C. Hinkle,and the postcolonial potentiality of black women in colonial(ist) photographs

By pasting on, cutting into and drawing over images of bodies, artists Wangechi Mutu and Kenyatta A.C. Hinkle re-cover colonialist photographs to recover postcolonial black female subjectivities. In her project, The Uninvited, ongoing since 2009, Hinkle has literally and conceptually drawn upon colonial-era postcards that feature photographs of nude West African girls and women, while Mutu has strategically combined images of black African and black American women from ethnographic and pornographic magazines to create her Ark Collection (2006). In the artists’ hands, the black female body is no longer shot, captured, framed or otherwise subjected to the camera. The narrative force and assumed veracity of photography is denied by ambiguous re-presentations of the multifaceted, processual nature of both art and the self. Moreover, rather than merely suggest the subjugation and fragmentation of black women, the works represent the postcolonial potentiality of transformation and agency.     

Place,people and processes in waste theory: a global South critique

Scholars across the humanities and social sciences have long sought to theorize waste, and more particularly the relationship between humans – their history, society, culture, art and thought – and their discards. My contention, though, is that these theories, since Mary Douglas’s Purity and Danger (1966) and Thompson’s Rubbish Theory (1979), have been predominantly based in and on global North contexts and, concomitantly, have taken as their axiom the distance between our cultures, lives, experiences and our material rejects. By intersecting existing cultural theories of waste with two important emerging schools of thought – environmental justice and new materialism – I argue that the exclusion or side-lining of places, notably in the global South where countless people live on a day-to-day basis with, on, and off waste, leads to certain imbalances, biases and gaps. Most notably, the livingness and agency of material rejects is often overlooked in theories that oppose humans and other-than-human waste. By way of conclusion, I propose the notion of ‘living waste’ – a more literal and material take on Bauman’s well-known concept ‘wasted lives’ – as a new point of departure for a reconceptualization of waste that might escape the prevailing dualisms and account simultaneously for ‘full-belly’ and ‘empty-belly’ contexts, human (wasted) lives and other-than-human waste materials, and understandings of lived experiences of waste.     

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

Art dealers are often described as gatekeepers who are focused on their own position as well as the status of their artists and collectors. We argue that this is an incomplete account of art dealing. The goal of this article is to explain how art dealing is a “toolkit” that does not exclusively focus on status building and social capital, but also includes behavior associated with accessing the visual arts field and community development. First, art dealers often have a background that has strong social ties to art, which provides them with intimate knowledge of the art world and social connections with artists, collectors, and other art world actors. For that reason, entry into art dealing reflects intimate knowledge of art practices, what we call “proximate connoisseurship.” Second, art dealerships reflect both competitive and communal factors. Art dealers may choose to work with artists based on their ability to generate income, social capital, and prestige (“competitive logic”), but art dealers may also employ a “communal logic” focused on friendships and creating community. This theory of art dealers is illustrated with excerpts from interviews with 34 dealers randomly selected from the rosters of international art fairs such as Art Basel Miami, EXPO Chicago, Aqua, and the New Art Dealers Alliance show.     

Assessing localization with its local sociocultural dynamics: how Hong Kong’s localized clubculture was undermined by wealth and power disparities

ABSTRACT

Localization has largely been assessed, by both its supporters and critics, with its local-global sociocultural dynamics. The local sociocultural dynamics of localization have either been ignored or simplistically understood as a ‘preference for the local’ or ‘local empowerment’. This study argues that localization’s local dynamics can be very complex and can yield negative social implications. There are likely multiple subgroups of local consumers, who localize in different ways and degrees due to their different resources, interests, and power positions. These differences likely generate emergent patterns of social contestations, stratification, and inequality. I empirically substantiate this argument by analyzing how Hong Kong’s rave-based clubculture was undermined by wealth and power disparities as it localized in the late 1990s and early 2000s. This study’s major methods include observant participation in dance clubs and rave parties in Hong Kong and informal and formal interviews of consumers and producers of clubculture.     

Images,Ideology, and Praxis in the Environmental Movement: Sebastião Salgado’s Genesis Project

This article is part of a panel discussion addressing the sociological relevance of Sebastião Salgado’s work as well as documentary photography in general. ² I focus specifically on environmental sociology.     

Art in my world: Exploring the visual art experiences in the everyday lives of young children and their impact on cultural capital

This paper presents data from a unique longitudinal study exploring the visual art experiences of nine children in two Scottish primary schools. Using a theoretical lens of cultural capital, the study is focused on spaces where children experience visual art and the value of these experiences, using arts-informed, visual methods. While each child presented a particular insight, the findings question the value of current school visual art experience over other spaces. The findings also demonstrate the capacity of children to resist the control of cultural capital by adults, engaging with visual art on their own terms.     

Cultural Valorization and African American Literary History: Reconstructing the Canon

The determinants of and variations in processes of cultural valorization are of increasing interest to sociologists. In the case of high-culture literary texts, the central evaluation process takes place through canon formation. We explore the mechanisms of canon formation and of cultural valorization processes more generally by analyzing the critical history of Zora Neale Hurston's novel Their Eyes Were Watching God. Published in 1937 to lukewarm reviews, the novel is currently considered a core canonical text. We specify three processes involved in the reconstruction of Hurston's novel and in the establishment of the African American literary canon: (1) the application of new evaluative criteria, (2) the reconstruction of textual meaning through newly available interpretative strategies, and (3) changes in the institutional and organizational environment that allowed new claims on high-status critical positions to be made by those previously outside the literary hierarchy. The implications of this study for theoretical models of cultural valorization in sociology are considered.     

Experience of Forced Sex and Subsequent Sexual,Drug, and Mental Health Outcomes: African American and Hispanic Women in the Southeastern United States

ABSTRACT. Objectives: This cross-sectional study examined African American and Hispanic women's (N = 1,509) self-reports of unwanted forced sex and its association with behavioral and mental health outcomes after the event. Methods: Twenty percent of the women had experienced forced sex (1st occurrence at age 15 years or younger for 10%, 1st occurrence at older than 15 years of age for 10%). Results: Regardless of when forced sex 1st occurred, women were more likely to have engaged in unprotected vaginal and anal sex, to have had multiple unprotected sex partners, to have sexually transmitted infections, to have reported binge drinking and illicit drug use, and to exhibit distress and have received mental health counseling. Conclusions: Forced sex may have wide-ranging behavioral and mental health consequences years later.     

Pessimism of the will,optimism of the intellect: endings and beginnings

ABSTRACT

This essay argues for the need for an ‘optimism of the intellect’ – in the form of the need for cultural studies – in the face of a growing ‘pessimism of the will.’ It illustrates the value of cultural studies by considering three contemporary problematics: post-truth, polarization and consent.     

Class and cuisine in contemporary Britain: the social space,the space of food and their homology

Thirty‐five years ago Pierre Bourdieu asserted that food preferences, as much as any other element of culture, are distributed within a space of difference more or less homologous with the social space of class positions. Plumbing data on annual spends on all manner of food items, he detected two key oppositions – a taste for the light versus a taste for the heavy on the one hand and a taste for rich foods versus a taste for healthy and exotic foods on the other – and located their generative principles in differences of volume of capital and composition of capital respectively. Deploying a correspondence analysis of similar data using the 2010 Living Costs and Food Survey, supplemented by data from the 2008 British Social Attitudes survey and the 2003 Cultural Capital and Social Exclusion Survey, we seek to examine whether comparable differences in expenditure and preferences are observable in contemporary Britain and, consequently, to illuminate the current structure of the food space and its homology with class. Ultimately, we conclude that Bourdieu's general model is essentially transposable from 1960s France to the UK at the dawn of the 21st century, though we put additional emphasis on the ethical dimension of food consumption, and reflect on the prevalent instances of symbolic violence it underpins.