A Pedagogy of Witnessing: Curatorial Practice and the - download pdf or read online

By Roger I. Simon

ISBN-10: 1438452691

ISBN-13: 9781438452692

ISBN-10: 1438452713

ISBN-13: 9781438452715

Explores the curating of “difficult wisdom” throughout the exhibition of lynching pictures in modern museums.

This remarkable comparative learn at the curating of “difficult wisdom” makes a speciality of museum exhibitions that offered an identical lynching photos. via a close description of the exhibitions and drawing on interviews with museum employees and customer reviews, Roger I. Simon explores the affective demanding situations to suggestion that lie in the back of different curatorial frameworks and the way audience’ reviews at the exhibitions practice a selected dialog approximately race in the USA. He then extends the dialogue to incorporate contrasting exhibitions of pictures of atrocities dedicated through the German military at the jap entrance in the course of global battle II, in addition to to images taken on the Khmer Rouge S-21 torture and killing middle. With an insightful mixing of theoretical and qualitative research, Simon proposes new conceptualizations for a modern public pedagogy devoted to bearing witness to the records of racism

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A Pedagogy of Witnessing: Curatorial Practice and the by Roger I. Simon PDF

Explores the curating of “difficult wisdom” throughout the exhibition of lynching pictures in modern museums. This extraordinary comparative learn at the curating of “difficult wisdom” makes a speciality of museum exhibitions that provided an identical lynching images. via a close description of the exhibitions and drawing on interviews with museum employees and customer reviews, Roger I.

Extra resources for A Pedagogy of Witnessing: Curatorial Practice and the Pursuit of Social Justice

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However, as my concern is how an exhibition might be conceived as an event, I have found it helpful to consider the implications of current writings that rethink the question of what is at stake in the notion of an image. Clearly, the most commonplace mode of apprehending an image is to consider it as a representation that draws its significance from its always-imperfect relation to that which it purports to represent. This is most evident in the way most people attend to photographs. If one trusts that a photograph has not been intentionally altered, it is usually taken for granted that such images are representations that underwrite the “realness” of a past presence that was there in front of the lens at the time a picture was taken.

Nor was their use exhausted in the initial encounter. In many pictures, the faces of the tortured stare out at us in a moment not only of fear and pain but also of shame, as we, by looking, prolong the suffering. 49 Despite recognizing the importance of making the Abu Ghraib photographs public, Reinhardt admits that “insofar as photographs of this kind are performative artifacts that help to create or prolong the very suffering they document, we have good reasons—rather different from those, say, of Fox News or the New York Post—for hesitating over their re-presentation” (17).

As she put it, “Alone, I am not witnessing anyone’s suffering. In all likelihood, the man is long dead, and he will never know that, in 2006, someone unknown to him felt an emotion for him that might approximate grief ” (93). It is this diffuse quality of sensation, reflexively coded as grief but without direction, that Bal labels the core problem that the exhibition Beautiful Suffering “analyzes and questions and to an extent, inevitably and boldly performs” (93–94). Bal understands quite clearly that this difficulty in the relation of affect and thought is not simply a consequence of particular photographs being viscerally difficult to look 18 A PEDAGOGY OF WITNESSING at.

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A Pedagogy of Witnessing: Curatorial Practice and the Pursuit of Social Justice by Roger I. Simon


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Categories: African American Studies