Abstract
This paper contends in favor of an emergence and foreshadowing of a new dialectic model, detached from preexisting narrative constructions, at the core of contemporary artistic practices. In order to confirm it as such, this paper will analyze the production of two artists: Juliana Huxtable and DeForrest Brown Jr. The methodology applied will be linked to the analysis of four specific works: the poem and performance “THERE ARE CERTAIN FACTS THAT CAN NOT BE DISPUTED” from Juliana Huxtable and the multidisciplinary proposal Outwardly Coiling Context Collapse and the audio-textual articulation of Absent Personae from DeForrest Brown. Jr.. In the case of the artists here presented, we will be able to conclude that this foreshadowing is correlated with the systematic marginalization of the ethnic and racial legacy, coupled with the re-invention of a new socio-cultural space, embedded with meaning.
Highlights
Developed for the context of the V Narrative, Media, and Cognition Colloquium, this article focuses on the narratives generated by the works of Juliana Huxtable and DeForrest Brown Jr
This paper proposes to investigate the marginal practices of Juliana Huxtable and DeForrest Brown Jr
Level based technology for a futuristic society detached from manual labor. (...) The black body is such a frame work that the very idea of technological discovery is proven true because the black body in its reduced state is its technology.» [7]. These works are placed in a collective space with a clear intention of social impact and transformation; after all, the «Global village must be re-engineered, re-learned.». Both productions seek to affirm collective narratives
Summary
Developed for the context of the V Narrative, Media, and Cognition Colloquium, this article focuses on the narratives generated by the works of Juliana Huxtable and DeForrest Brown Jr. Both productions seek to affirm collective narratives Underlining once again this idea of an alternative history or post-historical perspective, it is not a coincidence that DeForrest Brown Jr. refers to work existing «beyond the post-crash, as being founded on conjugated particles in a disparate space.». The performative aspects, inherent to much of Juliana's and DeForrest's production, may justify why these narratives try to function as «a reversal of the nominal gaze of categorization, the paranoid disavowal of an uneven and silent social contract as well as intimate encounter with the daily, incessant slights and traumas felt by the Black Body in everyday life.» [8] The body that recognizes that it sees and is seen, recognizes the perception of an Other The work of both artists coincides in this acknowledgment, making it clear that «art is not just a form of action, but of social action.» (Rothko, 2007: 42). The examples of Huxtable and Brown Jr. were called into this investigation as mediators to examine the relationship between the historical process of art and the cultural and civilizational traces left by the latter, proving to be valuable contributions for this subject matter
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