東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Let the record show: Mapping queer a...

Burk, Tara.

Linked to FindBook

Google Book

Amazon

博客來

Let the record show: Mapping queer art and activism in New York City, 1986--1995.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Let the record show: Mapping queer art and activism in New York City, 1986--1995./
Author:	Burk, Tara.
Description:	276 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-07(E), Section: A.
Contained By:	Dissertation Abstracts International76-07A(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3683257
ISBN:	9781321573343

Let the record show: Mapping queer art and activism in New York City, 1986--1995.
Burk, Tara.

Let the record show: Mapping queer art and activism in New York City, 1986--1995. - 276 p.

Source: Dissertation Abstracts International, Volume: 76-07(E), Section: A.

Thesis (Ph.D.)--City University of New York, 2015.

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

Although scholars increasingly scrutinize late twentieth-century American art produced in relation to social movements organized around feminism, anti-racist politics, health activism, and LGBTQ (lesbian, gay, bisexual, transgender, queer) identity, scholars usually fail to address the importance of printed ephemera as a medium of artistic expression. Within art history, an oversight of the structural capabilities of ephemera (i.e. its different modes of recirculation, its impact on the mobilization of activist projects, and the ways in which its placement and distribution can transform spaces) makes it difficult to grasp the full scope of artists' contribution to social movements and broader social moments such as the culture wars. This dissertation counteracts the privileging of video art in accounts of AIDS activist art and introduces visual ephemera as an innovative and influential medium by examining three art activist collectives that represent distinct phases of artistic expression and modes of address. First, the Silence=Death Project, which created an eponymous poster in 1986 to unify and mobilize an activist response to the AIDS crisis. Second, Gran Fury produced sex positive imagery and changed media representations of people with AIDS, and homosexuals in general. The work of these two collectives contributed to the groundswell of sex positive, confrontational activities that emerged around the AIDS activism of ACT UP (the AIDS Coalition to Unleash Power formed in New York in 1987). As a result in the early 1990s activism focused more broadly on sexuality, rather than exclusively on HIV/AIDS, emerged in the groups Queer Nation and Dyke Action Machine, explored in chapter 3. The lesbian public art collective fierce pussy, discussed in chapter 4, offered a feminist and lesbian critique of both queer and mainstream representational politics in the 1990s. Finally, the concluding chapter serves as an epilogue and looks at the individual practices of two artists associated with these groups (Gregg Bordowitz and Zoe Leonard) and a late work by fierce pussy. By placing the output of these collectives within the socio-historic, cultural, and aesthetic contexts of New York in the 1980s-1990s, this dissertation is a case study of political art during the divisive culture wars of the late twentieth century.

ISBN: 9781321573343Subjects--Topical Terms:

2122701
Art history.

Let the record show: Mapping queer art and activism in New York City, 1986--1995.
LDR:03322nmm a2200301 4500 001 2059341
005 20150728123745.5
008 170521s2015 ||||||||||||||||| ||eng d
020 $a 9781321573343
035 $a (MiAaPQ)AAI3683257
035 $a AAI3683257
040 $a MiAaPQ $c MiAaPQ
100 1 $a Burk, Tara. $3 3173406
245 1 0 $a Let the record show: Mapping queer art and activism in New York City, 1986--1995.
300 $a 276 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-07(E), Section: A.
500 $a Adviser: Kevin D. Murphy.
502 $a Thesis (Ph.D.)--City University of New York, 2015.
506 $a This item must not be sold to any third party vendors.
520 $a Although scholars increasingly scrutinize late twentieth-century American art produced in relation to social movements organized around feminism, anti-racist politics, health activism, and LGBTQ (lesbian, gay, bisexual, transgender, queer) identity, scholars usually fail to address the importance of printed ephemera as a medium of artistic expression. Within art history, an oversight of the structural capabilities of ephemera (i.e. its different modes of recirculation, its impact on the mobilization of activist projects, and the ways in which its placement and distribution can transform spaces) makes it difficult to grasp the full scope of artists' contribution to social movements and broader social moments such as the culture wars. This dissertation counteracts the privileging of video art in accounts of AIDS activist art and introduces visual ephemera as an innovative and influential medium by examining three art activist collectives that represent distinct phases of artistic expression and modes of address. First, the Silence=Death Project, which created an eponymous poster in 1986 to unify and mobilize an activist response to the AIDS crisis. Second, Gran Fury produced sex positive imagery and changed media representations of people with AIDS, and homosexuals in general. The work of these two collectives contributed to the groundswell of sex positive, confrontational activities that emerged around the AIDS activism of ACT UP (the AIDS Coalition to Unleash Power formed in New York in 1987). As a result in the early 1990s activism focused more broadly on sexuality, rather than exclusively on HIV/AIDS, emerged in the groups Queer Nation and Dyke Action Machine, explored in chapter 3. The lesbian public art collective fierce pussy, discussed in chapter 4, offered a feminist and lesbian critique of both queer and mainstream representational politics in the 1990s. Finally, the concluding chapter serves as an epilogue and looks at the individual practices of two artists associated with these groups (Gregg Bordowitz and Zoe Leonard) and a late work by fierce pussy. By placing the output of these collectives within the socio-historic, cultural, and aesthetic contexts of New York in the 1980s-1990s, this dissertation is a case study of political art during the divisive culture wars of the late twentieth century.
590 $a School code: 0046.
650 4 $a Art history. $3 2122701
650 4 $a LGBTQ studies. $3 2122706
650 4 $a Political science. $3 528916
690 $a 0377
690 $a 0492
690 $a 0615
710 2 $a City University of New York. $b Art History. $3 1032236
773 0 $t Dissertation Abstracts International $g 76-07A(E).
790 $a 0046
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3683257