...Artistic Practice Finds Its Object<subtitle>The Avant-Garde and the <italic>Yomiuri Indépendant</italic></subtitle> ...

... Next generation leadership culture artistic practice ...

... The afterword expresses gratitude to the history, work, and people who helped shape the anthology, both within the pages and beyond. Acknowledging the role of next-generation leadership and the work that continues, the anthology closes in artistic practice, a poem to ground us into the future...

... Spinoza worlding SenseLab philosophy artistic practice ...

... In chapter 8, a short interview with the author, Arno Boehler asks what else the body can do in the context of neurodiversity. Spinoza worlding SenseLab philosophy artistic practice ...

... Taking her own experience of an artistic exhibition as the generator of thought, in chapter 3 Manning explores how and where the artful emerges within artistic practice. It is here that the theory of the minor gesture is most specifically attended to. The chapter takes the question of how...

... In this chapter, Matt Richardson employs an ethnographic perspective to examine Sharon Bridgforth’s The love conjure/blues Text installation . He contends that the jazz aesthetic, an artistic practice that encourages layering of images, ideas, sound, and experiences, informs Bridgforth’s...

... The introductory chapter provides background on the artist’s practice. Heap of Birds describes his practice as continuing a warrior tradition, comparing his art to the “sharp rocks,” or stone projectile points, found on the ground of the Cheyenne-Arapaho Nation and elsewhere in North America...

... artist-scholar theory creative practice singing ...

... As a well-educated, middle-class African American woman, sculptor May Howard Jackson's (1877–1931) career was affected by racism and sexism at every turn. The social and class-based aspects of her larger artistic practice, which was formed in an era when a “New Negro” and the “Talented Tenth...

.... The discussion examines how Nuyorican poets have engaged in counterinstitutional critique, expanding on their artistic practice through embodied performances, independent publishing endeavors, and collaborations. Drawing from the realms of art criticism and literary analysis, the chapter delves into the dynamic...

... artistic practice and justice movement work; Black underground networks; Indigenous self-reflection through rap; racial inequities in classical music; the power of art during times of social and environmental unrest and instability; celebratory collective memory of LGBTQ+ belonging and resistance...

...Part I In this chapter, Matt Richardson employs an ethnographic perspective to examine Sharon Bridgforth’s The love conjure/blues Text installation . He contends that the jazz aesthetic, an artistic practice that encourages layering of images, ideas, sound, and experiences, informs...

... This chapter explores the “dematerialization” of artistic practice through new, collaborative methodologies during the 1960s and 1970s. This period marked the shift from an object- to an event-based aesthetic paradigm with significant implications for contemporary art. The chapter contrasts two...

... The epilogue returns to Jimmie Durham’s artistic practice to consider rocks that sprang to life following his relocation to Europe in 1994. A chunk of mineral matter masks the artist’s visage, pebbles dent the front of a refrigerator, rocks scatter across the floor of a museum gift store...

... Anzaldúa introduces her book by explaining its multi-layered focus and inviting readers to participate in her literary desires. Reflecting on her own experiences and struggles as a dedicated artist, the author calls for a new aesthetics, an entirely embodied artistic practice that synthesizes...

... This chapter considers the impact of Jimmie Durham’s tenure as the director of the International Indian Treaty Council of the American Indian Movement on his subsequent artistic practice in New York City during the 1980s. It lays the ground for remaining chapters by examining the philosophical...

..., addressed the colonial history of his country, and mentioned biographic details. Reading and listening to Nur’s recorded voice unsettles the images created of him by means of artistic practice. In Fragment IV, Josef Ntwanumbi from the Eastern Cape in South Africa compares his situation as an inmate...

...From Object to Event This chapter explores the “dematerialization” of artistic practice through new, collaborative methodologies during the 1960s and 1970s. This period marked the shift from an object- to an event-based aesthetic paradigm with significant implications for contemporary art...