Relational Undercurrents


Book Description

Relational Undercurrents accompanies an exhibition by the same name that opens at the Museum of Latin American Art in Long Beach, California in September, 2017. The exhibition and edited volume call attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America.




Relational Undercurrents


Book Description

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago' will call attention to a region of the Americas that is difficult to categorize and often overlooked: the island nations of the Caribbean. The exhibition proposes an archipelagic model defining the Caribbean from the perspective of its archipelago of islands, as distinct from the continental experience to study issues around race, history, the legacy of colonialism, and the environment. The exhibition features artists from the Hispanophone, Anglophone, Francophone, and Dutch Caribbean. Relational Undercurrents will emphasize the thematic continuities of art made throughout the archipelago and its diasporas, challenging conventional geographic and conceptual boundaries of Latin America. This approach draws particular attention to issues arising from the colonial legacy that are relevant to Latin America as a whole, but which emerge as central to the work of 21st-century Caribbean artists, including Janine Antoni (Bahamas), Humberto Diáz (Cuba), Jorge Pineda (Dominican Republic), and Allora & Calzadilla (Puerto Rico).




Gender as Soft Assembly


Book Description

Gender as Soft Assembly weaves together insights from different disciplinary domains to open up new vistas of clinical understanding of what it means to inhabit, to perform, and to be, gendered. Opposing the traditional notion of development as the linear unfolding of predictable stages, Adrienne Harris argues that children become gendered in multiply configured contexts. And she proffers new developmental models to capture the fluid, constructed, and creative experiences of becoming and being gendered. According to Harris, these models, and the images to which they give rise, articulate not only with contemporary relational psychoanalysis but also with recent research into the origins of mentalization and symbolization. In urging us to think of gender as co-constructed in a variety of relational contexts, Harris enlarges her psychoanalytic sensibility with the insights of attachment theory, linguistics, queer theory, and feminist criticism. Nor is she inattentive to the impact of history and culture on gender meanings. Special consideration is given to chaos theory, which Harris positions at the cutting edge of developmental psychology and uses to generate new perspectives and new images for comprehending and working clinically with gender.




The Guest Book


Book Description

Instant New York Times Bestseller Longlisted for Andrew Carnegie Medal for Excellence 2020 New England Society Book Award Winner for Fiction “The Guest Book is monumental in a way that few novels dare attempt.” —The Washington Post The thought-provoking new novel by New York Times bestselling author Sarah Blake An exquisitely written, poignant family saga that illuminates the great divide, the gulf that separates the rich and poor, black and white, Protestant and Jew. Spanning three generations, The Guest Book deftly examines the life and legacy of one unforgettable family as they navigate the evolving social and political landscape from Crockett’s Island, their family retreat off the coast of Maine. Blake masterfully lays bare the memories and mistakes each generation makes while coming to terms with what it means to inherit the past.




The Theory and Practice of Relational Coaching


Book Description

The 'relational turn' is a movement affecting a range of disciplines including neuroscience, psychoanalysis, psychotherapy, organisational consulting and, more recently, coaching. Its primary focus is on the centrality of human relating in determining how individuals develop, make meaning and function individually and collectively. In The Theory and Practice of Relational Coaching: Complexity, Paradox and Integration, Simon Cavicchia and Maria Gilbert expand existing coaching theory and practice to focus on the implications of the relational turn for how coaches and clients think about the nature of identity, the self, change, learning, and individual and organisational development. Drawing on perspectives as varied as relational neuroscience, the relational foundations of personality development, psychoanalysis, psychotherapy, shame, vulnerability, complexity and systems ideas, the authors shed light on many of the paradoxes and challenges facing coaches and their clients in today’s fast-paced, volatile and uncertain organisational environments. These include holding tensions such as the uniqueness of individual needs with the requirements of organisational contexts, managing multiple stakeholder expectations and networks and balancing linear approaches to change with adjusting to emerging and unpredictable events. Given the ever-increasing volatility, complexity and uncertainty that coaches and their clients face, The Theory and Practice of Relational Coaching guides the reader through a series of illuminating perspectives, examples and practical suggestions. These will enable coaches to integrate a more relational orientation in their work and extend their range and that of their clients for responding creatively to the challenges of modern organisational life. The book will appeal to coaches and coaching psychologists in practice and training, as well as counsellors and psychotherapists retraining as coaches.




Reclaiming the Americas


Book Description

"Tatiana Reinoza examines how geography, immigration, and art all converged as deepening interests for Latinx graphic artists, specifically those working in different forms of printmaking. By highlighting the work of four artists, based out of four distinct studios in East LA, Tempe, Austin, and East Harlem, she is able to uncover how their work these past three decades has transcended the more defined lines of scholarship that focus on specific ethnic groups (Chicano, Puerto Rican, etc.). She makes a case for how spatial projects allow for a more collective critique of anti-immigrant discourse, visualize immigrant lives, and articulate the ways in which printmaking has been historically complicit in the colonizing of the Americas"--




The Routledge Companion to African Diaspora Art History


Book Description

This is an authoritative companion that is global in scope, recognizing the presence of African Diaspora artists across the world. It is a bold and broad reframing of this neglected branch of art history, challenging dominant presumptions about the field. Diaspora pertains to the global scattering or dispersal of, in this instance, African peoples, as well as their patterns of movement from the mid twentieth century onwards. Chapters in this book emphasize the importance of cross-fertilization, interconnectedness, and intersectionality in the framing of African Diaspora art history. The book stresses the complexities of artists born within, or living and working within, the African continent, alongside the complexities of Africa-born artists who have migrated to other parts of the world. The group of international contributors emphasizes and accentuates the interplay between, for example, Caribbean art and African Diaspora art, or Latin American art and African Diaspora art, or Black British art and African Diaspora art. The book will be of interest to scholars and students working in art history, the various branches of African studies, African American studies, African Diaspora studies, Caribbean studies, and Latin American studies.




The Black Shoals


Book Description

In The Black Shoals Tiffany Lethabo King uses the shoal—an offshore geologic formation that is neither land nor sea—as metaphor, mode of critique, and methodology to theorize the encounter between Black studies and Native studies. King conceptualizes the shoal as a space where Black and Native literary traditions, politics, theory, critique, and art meet in productive, shifting, and contentious ways. These interactions, which often foreground Black and Native discourses of conquest and critiques of humanism, offer alternative insights into understanding how slavery, anti-Blackness, and Indigenous genocide structure white supremacy. Among texts and topics, King examines eighteenth-century British mappings of humanness, Nativeness, and Blackness; Black feminist depictions of Black and Native erotics; Black fungibility as a critique of discourses of labor exploitation; and Black art that rewrites conceptions of the human. In outlining the convergences and disjunctions between Black and Native thought and aesthetics, King identifies the potential to create new epistemologies, lines of critical inquiry, and creative practices.




The Making of a Caribbean Avant-Garde


Book Description

Focusing on the Anglophone Caribbean, The Making of a Caribbean Avant-Garde describes the rise and gradual consolidation of the visual arts avant-garde, which came to local and international attention in the 1990s. The book is centered on the critical and aesthetic strategies employed by this avant-garde to repudiate the previous generation’s commitment to modernism and anti-colonialism. In three sections, it highlights the many converging factors, which have pushed this avant-garde to the forefront of the region’s contemporary scene, and places it all in the context of growing dissatisfaction with the post-colonial state and its cultural policies. This generational transition has manifested itself not only in a departure from “traditional” in favor of “new” media (i.e., installation, performance, and video rather than painting and sculpture), but also in the advancement of a “postnationalist postmodernism,” which reaches for diasporic and cosmopolitan frames of reference. Section one outlines the features of a preceding “Creole modernism” and explains the different guises of postnationalism in the region’s contemporary art. In section two, its momentum is connected to the proliferation of independent art spaces and transnational networks, which connect artists across and beyond the region and open up possibilities unavailable to earlier generations. Section three demonstrates the impact of this conceptual and organizational evolution on the selection and exhibition of Caribbean art in the metropole.




Tamara Kostianovsky


Book Description