Outlaw Aesthetics


Book Description




Personal Places


Book Description

The human-constructed modifications of the environment and landscape examined in the essays collected here have been referred to as everything from piles of junk to the greatest accomplishments of humankind.




Robin Hood in Outlaw/ed Spaces


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Following in the tradition of recent work by cultural geographers and historians of maps, this collection examines the apparently familiar figure of Robin Hood as he can be located within spaces that are geographical, cultural, and temporal. The volume is divided into two sections: the first features an interrogation of the literary and other textually transmitted spaces to uncover the critical grounds in which the Robin Hood ’legend’ has traditionally operated. The essays in Part Two take up issues related to performative and experiential space, demonstrating the reciprocal relationship between page, stage, and lived experience. Throughout the volume, the contributors contend with, among other things, modern theories of gender, literary detective work, and the ways in which the settings that once advanced court performances now include digital gaming and the enactment of ’real’ lives.




Grasping Things


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America stocks its shelves with mass-produced goods but fills its imagination with handmade folk objects. In Pennsylvania, the "back to the city" housing movement causes a conflict of cultures. In Indiana, an old tradition of butchering turtles for church picnics evokes both pride and loathing among residents. In New York, folk-art exhibits raise choruses of adoration and protest. These are a few of the examples Simon Bronner uses to illustrate the ways Americans physically and mentally grasp things. Bronner moves beyond the usual discussions of form and variety in America's folk material culture to explain historical influences on, and the social consequences of, channeling folk culture into a mass society.




Uncommon Sense


Book Description

An examination of Herbert Marcuse’s political claim for the aesthetic dimension, focusing on defamiliarization as a means of developing radical sensibility. In Uncommon Sense, Craig Leonard argues for the contemporary relevance of the aesthetic theory of Herbert Marcuse—an original member of the Frankfurt School and icon of the New Left—while also acknowledging his philosophical limits. His account reinvigorates Marcuse for contemporary readers, putting his aesthetic theory into dialogue with antiracist and anti-capitalist activism. Leonard emphasizes several key terms not previously analyzed within Marcuse’s aesthetics, including defamiliarization, anti-art, and habit. In particular, he focuses on the centrality of defamiliarization—a subversion of common sense that can be a means to the development of what Marcuse refers to as “radical sensibility.” Leonard brings forward Marcuse’s claim that the aesthetic dimension is political because of its refusal to operate according to the repressive common sense that establishes and maintains relationships dictated by advanced capitalism. For Marcuse, defamiliarization is at the center of the aesthetic dimension, offering the direct means of stimulating its political potential. Leonard expands upon Marcuse’s aesthetics by drawing on the work of Sylvia Wynter, going beyond Marcuse’s predominantly European and patrilineal intellectual framework—while still retaining his aesthetic theory’s fundamental characteristics—toward a human dimension requiring decolonial, feminist, antiracist, and counterpoetic perspectives.




The Revival Styles in American Memorial Art


Book Description

In this richly illustrated volume, art historian Peggy McDowell and folklorist Richard E. Meyer blend their respective disciplinary perspectives, along with their shared long-standing fascination with cemeteries and funerary material culture, to provide a thoroughgoing descriptive analysis of this dramatic chapter in the history of American memorial art.




Place to Belong


Book Description

By accepted standards of tradition, Calvert's culture is declining. Old structures are regularly torn down or renovated; antique household items are replaced with modern conveniences. Pocius argues, however, that the tangible expressions of a culture can be misleading. Calvert's essence is not in the things owned and used by its residents but in the spaces in which those things abide and in the attitudes, values, and obligations that delineate the order of those spaces. From woodlands, water, and fields to yards, gardens, and homes, Calvert's physical and social structure is governed by shared concerns about the community's livelihood and welfare. As a resident of Calvert puts it, "Where you're working in the same space with people you know ... it's just not practical to be falling out with everyone." The sense of community that pervades Calvert is best exemplified by its annual draw for fishing berths. Because productivity varies among offshore fishing grounds, there is no private ownership of fishing rights. Rather, a lottery instituted in 1919 ensures each family the same chances for periodic access to the best fishing berths. The draw continues until all the fishing berths are awarded, but it is common for a family to opt out once they have drawn enough good berths. There are also instances of the most successful fishing operations sharing their catches. From his observations of Calvert's people at work and leisure, Pocius provides evidence to confirm the viability and durability of their culture. He reveals that standard assumptions about culture are inadequate, particularly those based on the primacy of artifacts and on sharp dichotomies between tradition and modernity. Calvert, he shows, belies our notion that declining cultural values and social segmentation are unavoidable side-effects of modernization and a rise in material well-being. A Place to Belong will promote a constructive scepticism about the ways we perceive and interpret cultures and, most important, will remind us of what it really means to belong to a place.




Embodied Avatars


Book Description

"Tracing a dynamic genealogy of performance from the nineteenth century to the twenty-first, McMillian contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment."--Back cover.




Speaking Out of Turn


Book Description

Speaking Out of Turn is the first monograph dedicated to the forty-year oeuvre of feminist conceptual artist Lorraine O’Grady. Examining O’Grady’s use of language, both written and spoken, Stephanie Sparling Williams charts the artist’s strategic use of direct address—the dialectic posture her art takes in relationship to its viewers—to trouble the field of vision and claim a voice in the late 1970s through the 1990s, when her voice was seen as “out of turn” in the art world. Speaking Out of Turn situates O’Grady’s significant contributions within the history of American conceptualism and performance art while also attending to the work’s heightened visibility in the contemporary moment, revealing both the marginalization of O’Grady in the past and an urgent need to revisit her art in the present.




Media Sense


Book Description

Essays on folkloristic approaches to popular culture