{"title":"Black Studies","description":null,"products":[{"product_id":"in-a-quare-time-and-place-post-slavery-temporalities-blaxploitation-and-sun-ra-s-afrofuturism-between-intersectionality-and-heterogeneity","title":"In a Qu*A*re Time and Place: Post-Slavery Temporalities, Blaxploitation, and Sun Ra's Afrofuturism between Intersectionality and Heterogeneity","description":"\u003cp\u003eIn this book Tim Stüttgen considers the paradigm of (post-)slavery as an important epistemological break within predominantely white Gender and Queer Studies, as well as within critical Film and Cultural Studies. Departing from what E. Patrick Johnson has proposed as a specifically intersectional “qu*A*re,” instead of an “unmarked white queer perspective,” this book contrasts Deleuze’s cinema theory with Frantz Fanon, queer theories of color, the history of the African diaspora and utopian qu*A*re futurisms to establish notions of a black locality, mobility and temporality in what Stüttgen calls the first emancipatory black cinema: Blaxploitation. Digging deeper in the imagery and temporalities of Blaxploitation film, his analysis deals with the sexualization of racism and mass media imagery of armed black liberation struggles, and shows the development of more and more complex spaces, main characters and representational constellations, including black revolutionary women (with guns) and also queer subtexts.\u003c\/p\u003e\n\u003cp\u003eFollowing the analysis of a specifically black movement-image, the book engages in a comprehensive intersectional reading of John Coney’s legendary 1974 Sun Ra film \u003cem\u003eSpace is the Place\u003c\/em\u003e, crystallizing the concept of a “black time-image” that interconnects formal aesthetic concepts to afro-futurist queer utopias. By producing these sorts of “qu*A*re assemblages” Stüttgen ultimately aims at an epistemological renewal of the dominant discourses on race, class and gender, that helps to at least temporarily suspend reifying identity pat- terns at stake, and rethink them critically based on the principles of intersectionality and heterogeneity. [publishers’ note]\u003c\/p\u003e","brand":"b_books,Autonomedia","offers":[{"title":"Default Title","offer_id":57356931858772,"sku":"A8B-24257","price":20.0,"currency_code":"EUR","in_stock":true}]},{"product_id":"no-humans-involved","title":"No Humans Involved","description":"\u003cp\u003eSylvia Wynter was born in Cuba in 1928 to Jamaican parents who soon repatriated to their home country. A novelist, playwright, and cultural theorist, Wynter's work has focused on redefining what it means to be human in the face of Western thought. 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Moten deftly explores various avenues of thought, explaining how he and Harney first developed a notion of the “undercommons” in their influential book The Undercommons: Fugitive Planning \u0026amp; Black Study (Autonomedia, 2013). His is a lively and fascinating discussion of the disparate connections between Object-Oriented Ontology, Martin Heidegger’s phenomenology, Franz Fanon, and Frank Wilderson, as well as the Buddhist philosophy of Nishida Kitarō—and how all these various intellectual threads shaped his ideas about blackness, sociality, and the “undercommons.”\u003c\/p\u003e","brand":"Sputnik \u0026 Fizzle","offers":[{"title":"Default Title","offer_id":57357499466068,"sku":"A8B-27799","price":15.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Scan_20200703_100637.jpg?v=1790812161"},{"product_id":"one-long-black-sentence","title":"One Long Black Sentence","description":"\u003cp\u003eAn artists’ book of writer \u0026amp; poet Renee Gladman’s drawings—that merge writing and architecture—with a response from Fred Moten.\u003c\/p\u003e\n\u003cp\u003eSince 2013, Gladman—author of the acclaimed \u003cem\u003eRavickians\u003c\/em\u003e novels—has been doing a kind of asemic writing that is also at once drawing and architecture. 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They enact identities that become natural through the systematic repetition of identical\u003cbr\u003egestures. And yet, a pose does more than that. Posing means becoming aware of how a body makes history. “To strike a pose is to pose a threat”, wrote Dick Hebdige referring to the meaning of style in youth subcultures. That’s why it’s important to trace the history of dissident gestures, to trace the genealogy of poses that are bold enough to confront the norm. This modality of performance may be described as radical because it opens up a space for imagining other possible bodies and futures. A radical performance invokes subjectivities for which no name yet exists and social choreographies that are still to come.\u003cbr\u003eThis notion of radical performance is what defines voguing, a popular culture that unfolds around transgender pageants and spectacular dance battles between queens of Black and Latino descent. Vogue is a defiantly queer dance style, the roots of which go deep down into the history of the African diaspora. It draws inspiration from the poses in top women’s fashion magazines, re-appropriating the elitist imaginary of haute couture and combining it with the vocabulary of Egyptian hieroglyphs, Asian martial arts and Afrofuturism. Such a transgender, multicultural hallucination is what made vogue emblematic of a fiercely underground scene: namely, the ballroom scene. Ballroom culture flourished in 1980s New York as a response to the AIDS crisis, but its history spans a century of fragile coalitions between minorities that have been consigned to the margins, incarcerated and pathologised throughout the modern period. In the stylised poses of voguing, the dancer’s hands do more than just draw figures in the air. These poses are a bodily transcription of a history of resilience that can be traced back to the 1920s, coinciding with the first massive drag balls of the Harlem Renaissance. With its elaborate rules, aesthetic codes and forms of social organisation, ballroom culture is still a platform to channel queer energies and affirm the lives of nonconforming bodies in what constitutes a case study of radical performance.\u003cbr\u003eThis exhibition investigates how minorities produce dissenting forms of beauty, subjectivity and desire. Those minority poetics and politics are viewed as a threat by the normative world, even as dominant culture craves them, as evidenced by the commercial exploitation of vogue by mainstream artists like Madonna. It‘s impossible to present a fixed portrait of a world as complex and protean as the ballroom scene. 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This publication assembles fifteen long-form interviews with figures close to Penn and Knobkerry, conducted by Kitto between 2017 and 2020, including Sara Penn, Andrea Aranow, Charles Daniel Dawson, David Hammons, Joanne Robinson Hill, Kate Prendergast and Jane Barrell Yadav, Sana Musasama, Eric Robertson, Fumi Schmidt, Seret Scott, Elena Solow, Carol Thompson, Ken Tisa, and Paulette Young. It also includes extensive reproductions of archival materials related to Penn and the store, collected by Kitto in collaboration with Penn and a number of her close relations.\u003c\/p\u003e\n\u003cp\u003eFrom the early 1960s, Knobkerry traded in textiles and ethnographic objects, which Penn expertly transformed into coveted patchwork garments and arranged in elaborate and densely layered displays. In Penn’s hands, these items registered the local effects of globalization, including increased access to objects of international trade, eager markets for fashionable multiculturalism, and a conflicted relationship to American identity. Intimately produced with her singular expertise and craftsmanship, Penn’s work was publicly lauded, circulated, copied, and codified as the archetypal “hippie” style (though Penn referred to Knobkerry’s wares as “Third World Design and Art” in the 1960s) by celebrities and mainstream press outlets. At the same time the store served as an important physical and social space for a network of Black intellectuals, musicians, and artists, and for a broader subset of cultural and subcultural figures passing through New York – even as its brick-and-mortar storefront moved from the East Village to SoHo and then to TriBeCa, on a now-familiar path of rent crisis and gentrification.\u003c\/p\u003e\n\u003cp\u003e[publisher’s note]\u003c\/p\u003e","brand":"Sculpture Center","offers":[{"title":"Default Title","offer_id":57357734543700,"sku":"A8B-29992","price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Scan_20211218_162433_001.jpg?v=1790812785"},{"product_id":"maroon-choreography","title":"maroon choreography","description":"\u003cp\u003eIn \u003cem\u003eMaroon Choreography\u003c\/em\u003e fahima ife speculates on the long (im)material, ecological, and aesthetic afterlives of black fugitivity. In three long-form poems and a lyrical essay, they examine black fugitivity as an ongoing phenomenon we know little about beyond what history tells us. As both poet and scholar, ife unsettles the history and idea of black fugitivity, troubling senses of historic knowing while moving inside the continuing afterlives of those people who disappeared themselves into rural spaces beyond the reach of slavery. At the same time, they interrogate how writing itself can be a fugitive practice and a means to find a way out of ongoing containment, indebtedness, surveillance, and ecological ruin. Offering a philosophical performance in black study, ife prompts us to consider how we—in our study, in our mutual refusal, in our belatedness, in our habitual assemblage—linger beside the unknown.\u003c\/p\u003e\n\u003cp\u003e[publisher's note]\u003c\/p\u003e","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":57357736804692,"sku":"A8B-30048","price":21.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser_20120.jpg?v=1790812802"},{"product_id":"tropical-aesthetic-of-black-modernism","title":"Tropical Aesthetic of black modernism","description":"\u003carticle id=\"rmjs-1\" data-readmore=\"\"\u003e\n\u003cdiv\u003eIn \u003cem\u003eTropical Aesthetics of Black Modernism\u003c\/em\u003e, Samantha A. Noël investigates how Black Caribbean and American artists of the early twentieth century responded to and challenged colonial and other white-dominant regimes through tropicalist representation. With depictions of tropical scenery and landscapes situated throughout the African diaspora, performances staged in tropical settings, and bodily expressions of tropicality during Carnival, artists such as Aaron Douglas, Wifredo Lam, Josephine Baker, and Maya Angelou developed what Noël calls “tropical aesthetics”—using art to name and reclaim spaces of Black sovereignty. As a unifying element in the Caribbean modern art movement and the Harlem Renaissance, tropical aesthetics became a way for visual artists and performers to express their sense of belonging to and rootedness in a place. Tropical aesthetics, Noël contends, became central to these artists’ identities and creative processes while enabling them to craft alternative Black diasporic histories. In outlining the centrality of tropical aesthetics in the artistic and cultural practices of Black modernist art, Noël recasts understandings of African diasporic art.\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e[publisher's note]\u003c\/p\u003e","brand":"Duke University Press","offers":[{"title":"Default Title","offer_id":57357736935764,"sku":"A8B-30051","price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Num_C3_A9riser_20125.jpg?v=1790812804"},{"product_id":"noirceur","title":"Noirceur","description":"\u003cp\u003eDans l’histoire africaine-américaine, le pessimisme ne porte pas sur les Noirs, mais sur la capacité de la société blanche à dépasser sa négrophobie. Et si les idées et réformes que nous tenons pour progressistes n’étaient que des métamorphoses du racisme ? À l’ère de Black Lives Matter, la permanence de la déshumanisation et de la mise à mort des Noirs apparaît comme un socle de nos sociétés civiles. Ce livre s’oppose aux visions simplistes, lisses ou iréniques de la pensée africaine-américaine actuelle. L’intersectionnalité n’est pas la seule manière de penser race, genre et classe d’un point de vue noir. Noirceur présente un ensemble de théories iconoclastes, de débats contemporains et de stratégies politiques pour repenser radicalement \u003cem\u003el’avenir\u003c\/em\u003e des vies noires en Amérique et dans le monde. [note de l’éditeur]\u003c\/p\u003e\n\u003cp\u003ePostface de Tommy J. Curry\u003c\/p\u003e","brand":"Éditions Divergences","offers":[{"title":"Default Title","offer_id":57357739065684,"sku":"A8B-30073","price":15.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1072\/9609\/6596\/files\/Scan_20220111_174640_001.jpg?v=1790812815"}],"url":"https:\/\/after8books.com\/collections\/black-studies.oembed?page=3","provider":"After 8 Books","version":"1.0","type":"link"}