Abstract
AbstractThe aim of the article is to explore how describing works of art and artistic practices enables a deeper understanding of the political dimensions and effects of art. Drawing on visual and documentary analysis, the article explores two artworks: Azúcar Rabiosa (‘Rabid Sugar’) (2018) by Cerrucha which addresses the justice system’s inaction regarding femicides and transfemicides in Mexico and Remain (2018) by Hoda Afshar, which documents the experiences of a group of stateless men who were left to languish when the Australian government closed its offshore immigration detention centre. Two key arguments emerge. First, making visible through description different aspects of artistic objects and practices helps account for what these artworks do politically. Second, taking description seriously enables us to understand how these artworks make claims to human rights.
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