MARC 主機 00000nam  2200397   4500 
001    AAI3387024 
005    20100902095841.5 
008    100902s2009    ||||||||||||||||| ||eng d 
020    9781109528770 
035    (UMI)AAI3387024 
040    UMI|cUMI 
100 1  Salley, Rael Jero 
245 10 Unfinished visuality: Contemporary art and black diaspora,
       1964--2008 
300    295 p 
500    Source: Dissertation Abstracts International, Volume: 70-
       12, Section: A, page: 4490 
500    Adviser: W. J. T. Mitchell 
502    Thesis (Ph.D.)--The University of Chicago, 2009 
520    Unfinished Visuality is about artists, their artworks, and
       what is seeable and sayable about them. It is concerned 
       more with specific pictures than it is with large 
       theoretical constructs, and its interest is in how these 
       images work as mediums of expression, as instruments of 
       vision and visualization, and as means of communication. 
       Put simply, this dissertation analyzes culture's 
       relationship to the visual by looking at individual 
       artists and individual artworks. Each chapter of 
       Unfinished Visuality is a case study in producing 
       knowledge through vision and discusses artworks that offer
       stunning, imaginative ways of understanding our bodies, 
       histories, and world. At issue are the related activities 
       of imaging and imagining, and the focus is on how these 
       activities function to produce culture 
520    Images provoke a wide range of emotions and responses, 
       come in different forms, and maintain complex roles. The 
       activities of images are particularly ambiguous, however, 
       in relation to the work of contemporary artists who are 
       also black people of the diaspora. For one thing, the 
       black diaspora is itself a manifold concept. The term 
       "diaspora" is nebulous: it simultaneously refers to a 
       series of historical events, a group of people, and an 
       ongoing experience in the present. It follows that the 
       artwork of black artists of the diaspora is itself 
       shifting, complex, and porous. Indeterminacy surrounds 
       this work, and with this uncertainty comes moral and 
       political anxiety that initiates conflicts that make 
       meaningful seeing difficult, if not impossible. The 
       artists discussed herein---Romare Bearden, Tavares 
       Strachan, Kerry James Marshall, Saya Woolfalk and Rachael 
       Lears, Bili Bidjocka---are not only affected by these 
       ongoing struggles, they actively respond to them. These 
       artists produce visual products that influence both what 
       we see and how we see. They make their presence felt by 
       questioning the terms of visual understanding, and the 
       artworks articulate experiences of the visual world. Thus,
       the emphasis of Unfinished Visuality is not so much on how
       visual images describe cultural and political phenomena 
       like blackness or diaspora, although that too is a cause 
       for concern. Rather, the focus is on understanding how 
       images produce culture and meaning, because through their 
       artistic production, artists contribute to the global 
       traffic of images and ideas. As they do so, their works 
       travel, translate, and negotiate different ways of being 
       and making. Most importantly, they chart new paths for 
       intellectual and visual inquiry 
590    School code: 0330 
650  4 Black Studies 
650  4 Art History 
650  4 Aesthetics 
690    0325 
690    0377 
690    0650 
710 2  The University of Chicago.|bHistory of Culture 
773 0  |tDissertation Abstracts International|g70-12A 
856 40 |uhttp://pqdd.sinica.edu.tw/twdaoapp/servlet/
       advanced?query=3387024