This Is Not a Hoax shows how the work of some contemporary artists and writers intentionally disrupts the curatorial and authorial practices of the country's most respected cultural institutions: art galleries, museums, and book publishers.
This Is Not a Hoax shows how the work of some contemporary artists and writers intentionally disrupts the curatorial and authorial practices of the country's most respected cultural institutions: art galleries, museums, and book publishers.
Heather Jessup holds a doctorate from the University of Toronto and teaches English at Langara College, BC. Her first novel, The Lightning Field, was a finalist for the Raddall and Savage Book Awards, and was nominated for the International Dublin Literary Award. She is co-curator and lead director of the Prud'homme Library Project.
Inhaltsangabe
Introduction: Little Disrupters Part One: A Novel in Three Dimensions The Haptic Conceptual Artwork of Iris Häussler Haptic Conceptual Art The Museum Label's Pact Complicated Complicity: The Necessity of a Viewer With Open Eyes: Revising the Historical Tour Mistakenness and Disorientation: Responses to Iris Häussler's Hoax (Pissing?) On the Museum's Authority Part Two: Unsettling Images Decolonizing Ethnographies in the Artworks of Brian Jungen, Jeff Wall, and Rebecca Belmore Reverse Ethnography: Artistic Response to Colonialism and Classification Dubious Origins: Paul Kane's Nineteenth-Century Canadian Ethnographic Art The Reverse Ethnography of Brian Jungen's Sketches Solicited for Wall Drawings The Near-Documentary Photography of Jeff Wall Unsettling Acts of Remembrance: Rebecca Belmore's Wild and Vigil Part Three: Imagining the Author The Heteronyms of Fernando Pessoa, Erín Mouré, and David Solway What Is a Heteronym? Metaphoric Possibilities: Translating the As If of a Portuguese Shepherd Collaborative Possibilities: The Interfering Theatrics of a Galacian Theatre Director Critical Possibilities: A Greek Fisherman Suffering from the "Malady of Atwoodism" Translational Possibilities: (Dis)comforts of the Mother Tongue Conclusion: The Art of Stumbling
Introduction: Little Disrupters Part One: A Novel in Three Dimensions The Haptic Conceptual Artwork of Iris Häussler Haptic Conceptual Art The Museum Label's Pact Complicated Complicity: The Necessity of a Viewer With Open Eyes: Revising the Historical Tour Mistakenness and Disorientation: Responses to Iris Häussler's Hoax (Pissing?) On the Museum's Authority Part Two: Unsettling Images Decolonizing Ethnographies in the Artworks of Brian Jungen, Jeff Wall, and Rebecca Belmore Reverse Ethnography: Artistic Response to Colonialism and Classification Dubious Origins: Paul Kane's Nineteenth-Century Canadian Ethnographic Art The Reverse Ethnography of Brian Jungen's Sketches Solicited for Wall Drawings The Near-Documentary Photography of Jeff Wall Unsettling Acts of Remembrance: Rebecca Belmore's Wild and Vigil Part Three: Imagining the Author The Heteronyms of Fernando Pessoa, Erín Mouré, and David Solway What Is a Heteronym? Metaphoric Possibilities: Translating the As If of a Portuguese Shepherd Collaborative Possibilities: The Interfering Theatrics of a Galacian Theatre Director Critical Possibilities: A Greek Fisherman Suffering from the "Malady of Atwoodism" Translational Possibilities: (Dis)comforts of the Mother Tongue Conclusion: The Art of Stumbling
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