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Making Art, Making Space: The Infrap...

Wells, Christina Siobhan.

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Making Art, Making Space: The Infrapolitics of Black Creative Collectivity in the Global City.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Making Art, Making Space: The Infrapolitics of Black Creative Collectivity in the Global City./
Author:	Wells, Christina Siobhan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	173 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
Contained By:	Dissertations Abstracts International81-10A.
Subject:	African American studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27541183
ISBN:	9798607315764

Making Art, Making Space: The Infrapolitics of Black Creative Collectivity in the Global City.
Wells, Christina Siobhan.

Making Art, Making Space: The Infrapolitics of Black Creative Collectivity in the Global City. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 173 p.

Source: Dissertations Abstracts International, Volume: 81-10, Section: A.

Thesis (Ph.D.)--Yale University, 2019.

This item must not be sold to any third party vendors.

In the post war period, cities across Britain and America became hotbeds for radical social action in part through collective black creative expression. Groups of artists, often living through residential segregation and inner-city divestment, used their work to openly question and resist the disenfranchisement around them. Today's cities have become 'global' (and not simply multicultural) by making difference profitable. They do so by offering an impression of safety, civility and prosperity that attracts capital, business, and affluence from around the world. Mapping urban planning history onto cultural production, I identify policies of deregulated regeneration and 'impression management' (Goffman, 1959) as two mechanisms by which the global city functions. Using two ethnographic case studies which implicate the erosion of formerly dynamic spaces of assembly, I argue that this expression of the global city project as experienced by emergent black art collectives actively threatens radical creativity in new and concerning ways.Specifically, I demonstrate how the Brooklyn Good Guys collective in New York interprets such forces as threats on their 'right to the city' (Harvey, 2008) and uses artist-led community work, solidaristic discourses on "depth" and an expansive understanding of authenticity through what I term 'Afro-Americana aesthetics' as resistance. Constrained by the shrinking availability of non-corporatized, affordable studio spaces and the erosion of non-consumptive nightlife, I demonstrate how The Groundnut collective in London uses a "multiplicitous" structure, incomplete personal narratives and humble food products to negotiate a place within the city's culture industry.My research hopes to show that living in the centers of global capital, where the private and public spaces of black life and creativity are eroded, is not just economically prohibitive to emergent black cultural production; it fundamentally changes the artist's relationship to their vista of possible futures such that the 'infrapolitical' remains the only space for radical maneuvering (Scott, 1990). These actions, however, exist on a continuum; the closer to the center through class and education, the more likely a group is to attempt engagement with mainstream institutions, experience acceptance and success (though conditional and often short-lived) within the global city, and engage its oppressive material and cultural constraints with an ethos of negotiation rather than confrontation. Thus this study also suggests that making art in a global city can be "experienced by all, but structured against some" in ways that complicate notions of blackness as a primary, enduring stigma and affirm the methodological value of comparative analysis.Led by data from participant-observation, semi-structured interviews, and analyses of art objects, performances, organizational practices and posts in the 'digital commons' (Hunter et al, 2016), the dissertation argues for further interrogation of the global city (Sassen, 2005) concept at the intersection of site-specificity, racialized histories and cultural production; a space which has been overlooked by macro-level analyses.

ISBN: 9798607315764Subjects--Topical Terms:

2122686
African American studies.
Subjects--Index Terms:

Black studies

Making Art, Making Space: The Infrapolitics of Black Creative Collectivity in the Global City.
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300 $a 173 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-10, Section: A.
500 $a Advisor: Anderson, Elijah.
502 $a Thesis (Ph.D.)--Yale University, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a In the post war period, cities across Britain and America became hotbeds for radical social action in part through collective black creative expression. Groups of artists, often living through residential segregation and inner-city divestment, used their work to openly question and resist the disenfranchisement around them. Today's cities have become 'global' (and not simply multicultural) by making difference profitable. They do so by offering an impression of safety, civility and prosperity that attracts capital, business, and affluence from around the world. Mapping urban planning history onto cultural production, I identify policies of deregulated regeneration and 'impression management' (Goffman, 1959) as two mechanisms by which the global city functions. Using two ethnographic case studies which implicate the erosion of formerly dynamic spaces of assembly, I argue that this expression of the global city project as experienced by emergent black art collectives actively threatens radical creativity in new and concerning ways.Specifically, I demonstrate how the Brooklyn Good Guys collective in New York interprets such forces as threats on their 'right to the city' (Harvey, 2008) and uses artist-led community work, solidaristic discourses on "depth" and an expansive understanding of authenticity through what I term 'Afro-Americana aesthetics' as resistance. Constrained by the shrinking availability of non-corporatized, affordable studio spaces and the erosion of non-consumptive nightlife, I demonstrate how The Groundnut collective in London uses a "multiplicitous" structure, incomplete personal narratives and humble food products to negotiate a place within the city's culture industry.My research hopes to show that living in the centers of global capital, where the private and public spaces of black life and creativity are eroded, is not just economically prohibitive to emergent black cultural production; it fundamentally changes the artist's relationship to their vista of possible futures such that the 'infrapolitical' remains the only space for radical maneuvering (Scott, 1990). These actions, however, exist on a continuum; the closer to the center through class and education, the more likely a group is to attempt engagement with mainstream institutions, experience acceptance and success (though conditional and often short-lived) within the global city, and engage its oppressive material and cultural constraints with an ethos of negotiation rather than confrontation. Thus this study also suggests that making art in a global city can be "experienced by all, but structured against some" in ways that complicate notions of blackness as a primary, enduring stigma and affirm the methodological value of comparative analysis.Led by data from participant-observation, semi-structured interviews, and analyses of art objects, performances, organizational practices and posts in the 'digital commons' (Hunter et al, 2016), the dissertation argues for further interrogation of the global city (Sassen, 2005) concept at the intersection of site-specificity, racialized histories and cultural production; a space which has been overlooked by macro-level analyses.
590 $a School code: 0265.
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650 4 $a Sociology. $3 516174
650 4 $a Art history. $3 2122701
653 $a Black studies
653 $a Contemporary art
653 $a Gentrification
653 $a Global cities
653 $a Qualitative methodology
653 $a Resistance
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