African American Artists Performing for the Camera After 1970: Against Transparency

— —

Martyna Ewa Majewska (The University of Manchester, UK)

African American Artists Performing for the Camera After 1970

Against Transparency

Martyna Ewa Majewska (The University of Manchester, UK)

$305

Hardback

Not in-store but you can order this
How long will it take?

Availability Information

We source books from suppliers in Australia and overseas. For books we don't currently have in stock, the time it takes to get them from our suppliers can vary widely - from a few days to a few months - so we check each book with each supplier to determine the expected time it will take to be supplied to us.

We then advise you accordingly. If the time taken to get any book is too long for you, you can let us know and we will cancel or adjust your order, and refund as required.

To find out the anticipated arrival time for specific items prior to ordering, please contact us by phone or email:

Phone +61 2 9264 3111, or 1800 4 BOOKS (1800 4 26657) if outside Sydney:
option 1 Abbey's Bookshop (Crime, History, Science, Kids & more) • info@abbeys.com.au
option 2 Language Book Centre (ESL & Foreign Languages) • language@abbeys.com.au
option 3 Galaxy Bookshop (Sci-fi, Fantasy, Romance, Graphic Novels) • sf@galaxybooks.com.au

QTY:

English

Routledge
26 March 2025

History of Art & Design Styles; Performance art; Photography & photographs; Theatre Studies; Ethnic studies

Series: Routledge Research in Art and Race

This study demonstrates how African American artists active since the 1970s have instrumentalized performance for the camera to intervene in existing representations of Black and Brown people in America and beyond.

Majewska argues that producing carefully designed photographs, films, and videos via performance became a key strategy for dismantling the conceptions of race and gender fixed by US popular culture, jurisprudence, and pseudoscience. Studying the work of Adrian Piper, Glenn Ligon, Lyle Ashton Harris, Senga Nengudi, Maren Hassinger, Howardena Pindell, David Hammons, and Pope.L, this book examines the ways in which these artists incorporate their bodies and personal experience into their respective performances, simultaneously courting and foreclosing autobiographical readings. The strategies examined here, while diverse, all challenge conventional interpretations of performance art—especially those overdetermined by race, gender, and sexuality.

The book will be of interest to scholars working in art history, performance studies, photography, and African American studies.

By: Martyna Ewa Majewska (The University of Manchester UK)
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 246mm, Width: 174mm,
Weight: 570g
ISBN: 9781032747422
ISBN 10: 1032747420
Series: Routledge Research in Art and Race
Pages: 212
Publication Date: 26 March 2025
Audience: College/higher education , Primary
Format: Hardback
Publisher's Status: Active

Acknowledgements Introduction Chapter 1. Exaggerated Features: Adrian Piper on the Limits of Performativity PART I “The Artist Formerly Known as African-American” PART II The threat of “miscegenation” and the visual construction of race Chapter 2. The Outrageous Abstraction of Senga Nengudi’s Performance Photography Chapter 3. Howardena Pindell’s and Maren Hassinger’s Subversive Video-Narcissism Chapter 4. Feeble Monuments: David Hammons and Pope.L Underperforming for the Camera Conclusion: Communication with Shadows Notes Bibliography Index

Martyna Ewa Majewska is a Leverhulme Early Career Research Fellow in the School of Arts, Languages and Cultures, The University of Manchester