Beyond The Gallery An Anthology Of Visual Encounters

SILVER MEDALIST at the 2022 International Latino Book Awards Looking at Art Beyond the Gallery's White Cube with Latinx Eyes. BEYOND THE GALLERY is the second instalment of the Beyond series by Laberinto Press. This multilingual and multi-genre anthology showcases emerging and established talents within the Hispanic-Canadian community, featuring a broad range of writings on visual culture by writers, artists, and cultural workers. Resisting the sterility of contemporary art's white cube, BEYOND THE GALLERY embraces eclecticism by weaving together a labyrinth of visual experiences through intersecting and diverging pieces of fiction, creative nonfiction, journalism, and academic research. In doing this, we invite readers to consider Hispanic-Canadian literature as Canadian literature, beyond the confines of Magical Realism, the official English-French bilingual model, and to see yourself in these pages. Literary Nonfiction. Fiction. Latinx Studies. Art.

Encounters Beyond the Gallery challenges the terms of their exclusion, looking to relational art, Deleuze-Guattarean aesthetics and notions of perception, as well as anthropological theory for ways to create connections between seemingly disparate worlds. Embracing a unique and experimental format, the book imagines encounters between the art works and art worlds of Rirkrit Tiravanija, Tamil women, the Shipibo-Conibo of Eastern Peru and a fictional female contemporary artist named Rikki T, in order to rethink normative aesthetic and cultural categories. Its method reflects the message of the book, and embraces a plurality of voices and perspectives to steer critical attention towards the complexity of artistic life beyond the gallery.

Examining a wide range of ekphrastic poems, David Kennedy argues that contemporary British poets writing out of both mainstream and avant-garde traditions challenge established critical models of ekphrasis with work that is more complex than representational or counter-representational responses to paintings in museums and galleries. Even when the poem appears to be straightforwardly representational, it is often selectively so, producing a 'virtual' work that doesn't exist in actuality. Poets such as Kelvin Corcoran, Peter Hughes, and Gillian Clarke, Kennedy suggests, relish the ekphrastic encounter as one in which word and image become mutually destabilizing. Similarly, other poets engage with the source artwork as a performance that participates in the ethical realm. Showing that the ethical turn in ekphrastic poetry is often powerfully gendered, Kennedy also surveys a range of ekphrastic poets from the Renaissance and nineteenth century to trace a tradition of female ekphrastic poetry that includes Pauline Stainer and Frances Presley. Kennedy concludes with a critique of ekphrastic exercises in creative writing teaching, proposing that ekphrastic writing that takes greater account of performance spectatorship may offer more fruitful models for the classroom than the narrativizing of images.

Literacy is broadly understood to refer to the ability to read and write. But the term is heavily value-laden and is often used to elevate print at the expense of other forms of communication. In PhotoGraphic Encounters, the authors challenge this reductive notion of literacy and propose instead an integrated span of literacies: reaching across disciplinary boundaries to discover a text that draws upon both the visual and the verbal. PhotoGraphic Encounters discusses Canadian writers like Margaret Atwood, George Bowering, Robert Kroetsch, and Daphne Marlatt, and Canadian artists like Fred Douglas, Ernie Kroeger, Brenda Pelkey, and Michael Snow, then looks at the cross-fertilization of visual and verbal processes in their works. The authors present a new narrative practice, one that fully engages lived experience. The vernacular, they argue, is vital to our participation as readers and viewers of high art. Making the connection between the vernacular and high culture creates an enabling moment in artistic production and reception and in teaching, learning, and talking about art and literature. PhotoGraphic Encounters offers a compelling perspective on questions of literacy in a postmodern culture. Artists, writers, scholars, and critics alike will want this volume in their libraries. Includes more than 120 B&W photographs, 20 colour plates, index, bibliography.

In a series of philosophical discussions and artistic case studies, this volume develops a materialist and immanent approach to modern and contemporary art. The argument is made for a return to aesthetics - an aesthetics of affect - and for the theorization of art as an expanded and complex practice. Staging a series of encounters between specific Deleuzian concepts - the virtual, the minor, the fold, etc. - and the work of artists that position their work outside of the gallery or 'outside' of representation - Simon O'Sullivan takes Deleuze's thought into other milieus, allowing these 'possible worlds' to work back on philosophy.

Introduction : from mirror to anamorphosis -- Uncanny : the blind field in Edward Hopper -- Paranoia : Dalí meets Lacan -- Encounter : Breton meets Lacan -- Death drive: Robert Smithson's Spiral jetty -- Mourning : the Vietnam Veterans Memorial -- The real : what is a photograph? -- Conclusion : after Camera lucida.