Burch-Brown, Joanna. Should Slavery’s Statues be Preserved? On Transitional Justice and Contested Heritage
2022, Journal of Applied Philosophy, 39(5): 807-824
-
Expand entry
-
Added by: Ten-Herng Lai & Chong-Ming LimAbstract:
What should we do with statues and place-names memorializing people who committed human-rights abuses linked to slavery and postslavery racism? In this article, I draw on UN principles of transitional justice to address this question. I propose that a successful approach should meet principles of transitional justice recognized by the United Nations, including affirming rights to justice, truth, reparations, and guarantees of nonrecurrence of human rights violations. I discuss four strategies for handling contested heritage, examining strengths and weaknesses of each strategy. Examples from Bristol, England, highlight common challenges and positive lessons.Comment (from this Blueprint): This paper deploys principles of transitional justice to review the payoffs of different approaches to objectionable commemorations.
Butler, Judith, Athena Athanasiou. The Political Promise of the Performative
2013, In: Dispossession: The Performative in the Political. London: Polity. 140-148.
-
Expand entry
-
Added by: Rossen VentzislavovSummary: In this conversation Butler and Athanasiou explore the parameters of the public performance of political dissent. They discuss instances of political protest that link up to Butler and Athanasiou's shared sense of performativity. For the two of them, performativity is the aspect of our social life that manifests surprise, challenge and urgency through the human body. This makes the performative an especially effective instrument against the disparity, dispossession and desperation the better part of humanity is forced to endure.Comment: This text is best used as a further or specialised reading in classes on political dissent and subversion of social norms. It can inspire interesting discussions on ways to express dissent and protest, and can be very useful in discussions of politically involved art.
Campbell, Shelley. Myra: a Portrait of a Portrait
2013, in: Hannah Priest (ed.), The Female of the Species: Cultural Constructions of Evil, Women and the Feminine, Oxford: Inter-disciplinary Press.
-
Expand entry
-
Added by: Hans MaesSummary: Considers philosophical problems with representation, particularly in regard to the loss of particularity and individuality in instances when an identity takes on symbolic proportions. Hindley, the woman, has been totally merged with Hindley, the monster. Her particularity has been subsumed as a two-dimensional stereotype by having her photo treated with obsessive media attention by being repetitively linked to that same hated stereotype.Comment: Useful in classes focused on depiction and representation.
Artworks to use with this text:
Marcus Harvey, Myra (1995)
Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express. Useful in classes focused on depiction and representation.
Artworks to use with this text:
Marcus Harvey, Myra (1995)
Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express.
Carter, June. La Negra as Metaphor in Afro-Latin American Poetry
1985, Caribbean Quarterly, 31(1): 73–82
-
Expand entry
-
Added by: Adriana Clavel-VázquezAbstract:
Carter examines the anti-Black sentiment in Latin American culture and pays particular attention to how, even in negrista poetry aimed at contributing to the fight against oppression of Black people, Black women are used as a symbol of sensuality and primitiveness. The paper argues that when Black women feature in poetry in the figure of la mulata, they are associated with nature and portrayed as inherently evil, sensual and primitive. Moreover, while representations of Black men evolved to focus on their inner consciousness, rather than on their physical attributes, and to combat oppressive imagery and symbolism, la mulata continued being used as a satire aimed at inviting Afro-Latin communities to take positive steps towards improving their social conditions. They were used to advance a criticism for how the anti-Black sentiment at the heart of popular conceptions of mestizaje ends up being internalized by members of Afro-Latin communities, so that Black women are represented as renouncing Blackness and engaging in a “whitening” process.Comment (from this Blueprint): Carter’s discussion of Afro-Latin women offers a good opportunity to reflect on what an intersectional approach to race in Latin American needs to involve. As evidenced by the analysis of Rosario Castellanos’ Balún Canán, mestizas in Latin American societies face a double displacement: first as being in-between cultures, and second, as not quite part of the mestizo nation. In addition to this condition of mestiza womanhood, Afro-Latin women face another dimension of displacement. They are part of mestizo nations, but, as Black, they are not fully recognised as such; they are part of mestizo nations, but, as women, they are not fully recognised as such; they are part of Afro-Latin communities, but, as women, they are not fully recognised as such.
Chambers, Emma. Face to Face: Representing Facial Disfigurement
2010, in: Richard Sandell, Jocelyn Dodd, & Rosemarie Garland-Thomson, Re-presenting Disability: Activism and Agency in the Museum, London: Routledge, pp. 179-193.
-
Expand entry
-
Added by: Hans MaesSummary: In-depth analysis of how the Saving Faces exhibition challenges stereotypes of disabled people as dependent invalids or exotic specimens. Discusses the artist's rejection of experimentation in favour of a painting style that is as 'straight' as possible (and so makes for an interesting contrast with the use of cubist painting in Anita Silver's essays). Also draws attention to the interaction between artist and sitter and to the process of portraiture.Comment: Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mark Gilbert, Saving Faces (2000)
Gilbert was artist-in-residence at the oral and maxillofacial surgery department of a London hospital. His brief was to illustrate what is, and also isn't, possible with modern facial surgery; and to capture the emotional journey undertaken by patients in ways that standard clinical photography cannot. Useful in discussing portraiture, as well as depiction and representation in general.
Artworks to use with this text:
Mark Gilbert, Saving Faces (2000)
Gilbert was artist-in-residence at the oral and maxillofacial surgery department of a London hospital. His brief was to illustrate what is, and also isn't, possible with modern facial surgery; and to capture the emotional journey undertaken by patients in ways that standard clinical photography cannot.
Chino, Kaori. A Man Pretending to Be a Woman: On Yasumasa Morimura’s “Actresses”
2000, in: Brand, Peg Zeglin (ed.), Beauty Matters, Bloomington: Indiana University Press, pp. 252-265.
-
Expand entry
-
Added by: Hans MaesSummary: Argues that Morimura's portraits achieve something that depictions of the female body rarely can. Morimura invites the violent male gaze with his exposed body and then, in the next moment, snubs and nullifies it. With references to Andy Warhol's portraits of Marilyn Monroe and Cindy Sherman's work.Comment: Useful in discussing portraiture and depiction, and objectification in general.
Artworks to use with this text:
Yasumasa Morimura, Descent of the Actresses (1994)
Self-portraits in which the artists impersonates famous actresses. Useful in discussing portraiture and depiction, and objectification in general.
Artworks to use with this text:
Yasumasa Morimura, Descent of the Actresses (1994)
Self-portraits in which the artists impersonates famous actresses.
Coleman, Elizabeth Burns. Cultural Property and Collective Identity
2006, In Returning (to) Communities: Theory, Culture and Political Practice of the Communal, edited by Stefan Herbrechter and Michael Higgins: Brill.
-
Expand entry
-
Added by: Erich Hatala MatthesSummary: This short paper examines the relationship between cultural property and collective identity through a close analysis of a paper by Richard Handler that questions such a relationship. In particular, Handler raises a version of common worries about the lack of cultural group continuity over time: because cultures are constantly changing, this fact is thought to undermine claims about the relationship between cultural identity and cultural property, as well as subsequent repatriation requests. Coleman pushes back against this objection by questioning what kind of identity or sameness is actually required for cultural continuity over time.Comment: Though focused on a reading that is not included in this curriculum, this text pairs well with, for instance, the Appiah, Thompson, or Young readings in this module, or any other article that raises questions about cultural continuity over time.
Coleman, Elizabeth Burns. Repatriation and the Concept of Inalienable Possession
2010, In The Long Way Home, edited by Paul Turnbull and Michael Pickering: Berghan Books.
-
Expand entry
-
Added by: Erich Hatala MatthesSummary: The concept of inalienable possession often figures centrally in debates about repatriation of cultural artifacts (which are also often artworks). The right of alienability (or the right to transfer title to property) is one of the core rights in Western property theory. If property is inalienable, this means that title to it cannot rightly be transferred. In this paper, Coleman analyzes the concept of inalienable possession, and argues that laws (such as the Native American Graves Protection and Repatriation Act (NAGPRA)) can foist a conception of inalienable possession on indigenous peoples that can be inaccurate to past and changing cultural norms. She uses this point to offer a distinction between property and ownership. This opens up conceptual space for a link between objects and identity through ownership that might nevertheless allow for the alienability of such property.Comment: This paper is best for a course unit that is making room for in-depth discussion of the property dimensions of cultural property. It would pair well with Janna Thompson's "Art, Property Rights, and the Interests of Humanity," or James O. Young's "Cultures and Cultural Property." It can be also used together with or in lieu of Sarah Harding's much longer and more detailed paper "Justifying Repatriation of Native American Cultural Property."
Coleman, Elizabeth Burns, Rosemary J. Coombe, Fiona MacArailt. A Broken Record: Subjecting ‘Music’ to Cultural Rights
2012, In The Ethics of Cultural Appropriation, edited by James O. Young and Conrad G. Brunk: Blackwell Publishing.
-
Expand entry
-
Added by: Erich Hatala MatthesSummary: This article presents multiple arguments for the "repatriation" of indigenous music, and the assertion of indigenous cultural rights, while troubling the imposition of legalistic frameworks of Western intellectual property. It situates the harms of appropriation in the perpetuation of unjust systems and misrepresentation, and demonstrates how careful attention to specific cultural practices can play an essential role in sorting out sometimes overly abstract debates about repatriation and appropriation.Comment: This is a long and difficult text, but it does an excellent job of marrying careful attention to cases with philosophical context and reflection. It is a good choice for more advanced classes, particularly ones that might be focusing on music.
Coleman, Elizabeth Burns. Aboriginal Painting: Identity and Authenticity
2001, Journal of Aesthetics and Art Criticism 59(4): 385–402.
-
Expand entry
-
Added by: Erich Hatala MatthesSummary: Coleman argues for an ontological understanding of Australian Aboriginal artworks (namely, that they function as insignia that require authoritative endorsement) that can resolve disputes about the authenticity of controversial cases of Aboriginal art. More broadly, her article illuminates the ways in which viewing art as part of a cultural heritage can affect how we understand its authenticity.Comment: This is a longer text that intersects with a number of other topics, including appropriation, art ontology, and the art-status of non-Western artworks. It could be used in the context of course units exploring any of those themes, or to raise them in the context of a unit on authenticity.
Can’t find it?
Contribute the texts you think should be here and we’ll add them soon!