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Huey Copeland
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Journal Articles
Publisher: Journals Gateway
October (2022) (180): 81–104.
Published: 22 June 2022
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This wide-ranging conversation with Black cultural theorist Saidiya Hartman—occasioned by the twenty-fifth anniversary of her groundbreaking first book, Scenes of Subjection , to be republished this year in an edition by Norton—explores the author's shifting approaches to the visual over time, the limitations and potentialities of the archive for its discontents, and the models she has both turned to and herself invented—most notably the concept of “critical fabulation”—in the ongoing attempt to find ethical modes of engaging African/Diasporic life, thought, and form in an anti-Black world.
Journal Articles
Publisher: Journals Gateway
October (2021) (178): 100–120.
Published: 29 December 2021
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In this conversation—recorded in 2019 for the artist's first solo museum exhibition—New Orleans–based Garrett Bradley discusses her filmic work as well as its relationship to institutional archives and personal communities with art historian Huey Copeland. What emerges is a critical account of Bradley's evolving Black feminist practice—its inspirations, antecedents, and analogues—which puts pressure on filmic conventions to move toward an “affective resymbolization” of America's racial imaginaries and the means through which they might be contested, shared, and visualized for audiences on all sides of the color line.
Journal Articles
Publisher: Journals Gateway
October (2020) (174): 3–125.
Published: 01 December 2020
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The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word's emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plural field of postcolonial or global modernisms. The exhortation to decolonize, however, is not uncontroversial-some believe it still carries a Eurocentric bias. Indeed, it has been proposed that, for the West, de-imperialization is perhaps even more urgent than decolonization. What does the term decolonize mean to you in your work in activism, criticism, art, and/or scholarship? Why has it come to play such an urgent role in the neoliberal West? How can we link it historically with the political history of decolonization, and how does it work to translate postcolonial theory into a critique of the neocolonial contemporary art world? Respondents include Nana Adusei-Poku, Brook Andrew, Sampada Aranke, Ian Bethell-Bennett, Kader Attia, Andrea Carlson, Elise Y. Chagas, ISUMA, Iftikhar Dadi, Janet Dees, Nitasha Dhillon, Hannah Feldman, Josh T. Franco, David Garneau, Renee Green, Iman Issa, Arnold J. Kemp, Thomas Lax, Nancy Luxon, Nelson Maldonado-Torres, Saloni Mathur, Tiona Nekkia McClodden, Alan Michelson, Partha Mitter, Isabela Muci Barradas, Steven Nelson, Ugochukwu-Smooth C. Nzewi, Alessandro Petti, Paulina Pineda, Christopher Pinney, Elizabeth Povinelli, Ryan Rice, Andrew Ross, Paul Chaat Smith, Nancy Spector, Francoise Verges, Rocio Zambrana, and Joseph R. Zordan.
Journal Articles
Publisher: Journals Gateway
October (2019) (168): 63–78.
Published: 01 May 2019
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In this article, occasioned by the fiftieth-anniversary of the Whitney Independent Study Program, art-historian Huey Copeland considers the vexed intersections of blackness, gender, and institutional critique in the contemporary art world as modeled both by his own practice and that of David Hammons.
Journal Articles
Publisher: Journals Gateway
October (2016) (156): 141–144.
Published: 01 May 2016
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In response to “A Question on Materialisms” (October 155), this text asks anew for a consideration of how blackness—as site, sign, sensibility, and subject position—productively recalibrates both recent and longstanding approaches to the unfolding of the sensible world.