Painting from the Other Side: Tracing the Reparative Turn in Contemporary Practice
Keywords:contemporary painting, feminism, reparative, social justice, curation, hopeful futurity, human flourishing
Painting from the Other Side, is the curatorial project section of a larger interdisciplinary practice-led research project titled Embodying the Reparative Turn: Seeking Agency through Studio Practice in Individual and Collective Contexts that investigates the potential of the reparative turn in painting, aesthetics, narrative, and curation to subvert, evade, and exit from dynamics of exclusion linked to homophobia, misogyny, and racism. It considers how systemic cultural agents propagating exclusion deploy inequity to obstruct human flourishing, then explores how they are subverted through diverse reparative practices in painting. Painting from the Other Side included an open call for paintings that engage with reparative content by artists whose identities are in some way outside of the minority power position of the Western canon of painting by straight white male artists. It included intensive studio visits and culminated in an exhibition. This paper proposes a theoretical framework of reparative painting and practice, tracing the many paths research-participant artists followed towards a reparative turn in painting.
Alessandrini, Anthony C., ed. Frantz Fanon Critical Perspectives. 2005 ed. London, New York: Routledge, 1999. doi:https://doi.org/10.4324/9780203979501
Barad, Karen. Meeting the Universe Halfway : Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2006. doi:https://doi.org/10.1215/9780822388128.
———. "Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter." Signs 28, no. 3, Gender and Science: New Issues (Spring 2003 2003): 801-31. doi:https://doi.org/10.1086/345321
———. "Transmaterialities: Trans*/Matter/Realities and Queer Political Imaginings." GLQ, A Journal of Lesbian and Gay Studies, Queer Inhumanisms 21, no. 2-3 (2015): 387-422. doi:https://doi.org/10.1215/10642684-2843239
Best, Susan. Reparative Aesthetics : Witnessing in Contemporary Art Photography. 1 ed.: Bloomsbury Academic, 2016.
———. Visualizing Feeling : Affect and the Feminine Avant-Garde. New York: I. B. Tauris, 2011.
Bickmore, Kate. "Kate Bickmore Artist Website." http://katebickmore.com.
Broadway, Elise. "Elise Broadway Artist Profile Page." https://cargocollective.com/elisebroadwayartist/.
Coole, Diana H., and Samantha Frost, eds. New Materialisms : Ontology, Agency, and Politics. Durham NC: Duke University Press, 2010. doi:https://doi.org/10.1215/9780822392996
Elkins, James, Harper Montgomery, and Art Institute of Chicago. School, eds. Beyond the Aesthetic and the Anti-Aesthetic, The Stone Art Theory Institutes, vol. volume 4. University Park, Pennsylvania: The Pennsylvania State University Press, 2013.
"English Oxford Living Dictionary." Oxford University Press, https://en.oxforddictionaries.com.
Graw, Isabelle. The Love of Painting : Genealogy of a Success Medium. Berlin: Sternberg Press, 2018. doi:9783956792519.
Halberstam, Jack, and Tavia Nyong’o, eds. Wildness. Edited by Michael Hardt Vol. 117:3, The South Atlantic Quarterly. Durham, NC USA: Duke University Press, 2018. doi:https://doi.org/10.1215/00382876-6942219
Hayles, Katherine. Unthought : The Power of the Cognitive Nonconscious. Chicago ; London: The University of Chicago Press, 2017. doi:https://doi.org/10.1080/00393274.2018.1460222.
hooks, bell. Art on My Mind : Visual Politics. New York: New Press, 1995. doi:https://doi.org/10.2307/1358668.
Klein, Melanie. Love, Guilt, and Reparation, and Other Works, 1921-1945. The Writings of Melanie Klein. Free Press ed. New York: Free Press, 1984.
Muñoz, José Esteban. Cruising Utopia : The Then and There of Queer Futurity. Sexual Cultures. New York: New York University Press, 2009. doi:https://doi.org/10.1080/00918369.2010.503518.
Nielsen, Henrik Kaare. "Discursive Interventions. On the Relationship between the Aesthetic and the Political in Late Modernity." The Nordic Journal of Aesthetics 35 (2008): 46–59.
"October." MIT University Press, https://www.mitpressjournals.org/loi/octo.
"Online Dictionary." Merriam-Webster https://www.merriam-webster.com/dictionary.
Pettit, Lydia. "Lydia Pettit Artist Website." https://lydiapettit.com.
Pozniakow, Leon. "Leon Pozniakow Instagram Page." https://www.instagram.com/leonpozniakow/.
Sedgwick, Eve Kosofsky. Touching Feeling : Affect, Pedagogy, Performativity. Series Q. Durham: Duke University Press, 2003. doi:https://doi.org/10.1215/9780822384786.
Segal, Hanna. Introduction to the Work of Melanie Klein. 5 ed. London: H. Karnac (Books) Ltd., 1988. 1973.
Ugiagbe, Osaretin. "Osaretin Ugiagbe Artist Website." https://www.osaretin.com.
How to Cite
Copyright (c) 2020 Art/Research International: A Transdisciplinary Journal
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with Art/Research International agree to the following terms:
a. Authors retain copyright and grant the journal right of first publication and the right to sublicense the Contribution, in the form in which it is published by the journal, to others under the terms and conditions of the of the Creative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) that allows others to download the work and share the work with others with an acknowledgement of the work's authorship and initial publication in this journal, but they cannot change the work in any way or use any part of the work commercially.
b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive public distribution and display of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
c. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
d. Authors wishing to include items (such as images or other media, or any creative works of others whether previously published or not) must contact the original copyright holder to obtain explicit permission to publish these items in Art/Research International. Writing permission should include: the title(s) of any copyrighted work, original place of publication if applicable, and an acknowledgement of having read Art/Research International's copyright notice. Authors are responsible for obtaining this permission and keeping it in their own records for later verification.