Overview

How can artists (and others) who find themselves in positions of privilege think differently about the way they do what they do in order to create the conditions for better, more just relations to flourish? Finding an answer to that question is at the heart of this book. After critiquing the relationship between contemporary art, race and privilege the author brings together First Nation and feminist philosophies of relationality, the game of string figuring, and her own history as an artist to propose an alternate methodology that puts relation at the centre of practice. She introduces the multivalent concept of “tacking”—a movement at an oblique angle to prevailing winds—in order to traverse the waters of contemporary art to challenge power and create a more just future.

Full Product Details

Author:   Louisa Bufardeci
Publisher:   Brill
Imprint:   Brill
Volume:   2
Dimensions:   Width: 15.50cm , Height: 2.50cm , Length: 23.50cm
Weight:   0.627kg
ISBN:  

9789004706941

ISBN 10:   9004706941
Pages:   300
Publication Date:   10 October 2024
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

preface acknowledgements illustrations note to the reader introduction  1 The sea between A and I and the question of privilege  2 privilege, art and contemporary art  3 tacking  4 outline of the chapters 1 “what to do?”  1 “if you see yourself as part of me and I’m part of you …”  2 making declarations  3 moves to innocence  4 subject position  5 the double bind is, and as, a political field 2 relinquishing ‘contemporary art’?  1 how do issues of race sit in contemporary art at the present moment?  2 whiteness in contemporary art practice  3 doing differently as a mode of contemporary art 3 the practice of tacking  1 the seemingly impossible history of string figuring  2 string figures in contemporary art  3 the practice of tacking  4 tacking in practice  5 the conditions of tacking 4 tacking and tacktical  1 the etymological relations of tacking  2 ‘tacktical’ as a neologism 5 what tacking does  1 techniques of relation  2 tacking as a technique of relation thinking-with and making-with response-ability  3 tacking in the borderspace  4 touch  5 play 6 tacking as a methodology: a tacktical methodology

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Author Information

Louisa Bufardeci, Ph.D. (2022), University of Melbourne, where she teaches in the Critical and Theoretical Studies program at the Victorian College of the Arts, Faculty of Fine Arts and Music. She is also a practising artist and a string figuring enthusiast.

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