Left of Center: Displacements and Intersectionalities in Photographic Practices of New York and Los Angeles, 1970-1988 / Jeanne M. Dreskin.

Format:

Book

Thesis/Dissertation

Author/Creator:

Dreskin, Jeanne M., author.

Contributor:

Redrobe, Karen, degree supervisor.

University of Pennsylvania. History of Art, degree granting institution.

Language:

English

Subjects (All):

American studies.

Art history.

History of art--Penn dissertations.

Penn dissertations--History of art.

Local Subjects:

American studies.

Art history.

History of art--Penn dissertations.

Penn dissertations--History of art.

Genre:

Academic theses.

Physical Description:

1 online resource (226 pages)

Contained In:

Dissertations Abstracts International 80-07A.

Place of Publication:

[Philadelphia, Pennsylvania] : University of Pennsylvania ; Ann Arbor : ProQuest Dissertations & Theses, 2018.

Language Note:

English

System Details:

Mode of access: World Wide Web.

text file

Summary:

Throughout the 1970s and 1980s, notions of a "postmodern image," often revolving around the use of photography, emerged within American art world discourses. Building in significant part upon themes of postructuralist theory, art historians and critics gestured to the photograph's inherent status as "copy," implicating notions of authorial originality as contrived and unnatural. My project grapples with questions as to how the scholarly contours of preeminent histories of photographic postmodernism, in their efforts to articulate photographic shifts away from late-modernist tenets, foreclosed the inclusion of artists whose work remained invested in sociopolitical concerns and imbricated politics of cultural identity introduced during the civil rights era. Three major case studies trace evolutions within the 1970s/80s photographic oeuvres of Patrick Nagatani, Lorraine O'Grady, and the collective Asco. Their work located within strategies of photographic postmodernism intersecting identity-oriented critiques of systemic race, citizenship, and class hierarchies, many of which were fomented amidst political mobilization and protest movements of the 1960s. Each artist's use of the still camera entails a navigation of the diverse socioeconomic geographies of their urban surroundings of New York and Los Angeles. In turn, they consider how the spaces they depict reflect their own relationships to the valuative sociocultural hierarchies structuring these major American art world centers, in which critics, curators, and scholars propped up artist communities more embedded in predominant histories.

Notes:

Source: Dissertations Abstracts International, Volume: 80-07, Section: A.

Publisher info.: Dissertation/Thesis.

Advisors: Redrobe, Karen.

Department: History of Art.

Ph.D. University of Pennsylvania 2018.

Local Notes:

School code: 0175

ISBN:

9780438767515

Access Restriction:

Restricted for use by site license.

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