Yvette Greslé
Biographic Data
| ID | 5226962 |
|---|---|
| NAME | Yvette Greslé |
| GIVEN NAMES | Yvette |
| FAMILY NAME | Greslé |
| SIGNATURE | GRESLÉ Y |
| AFFILIATIONS | Constitution of Public Intellectual Life Project, University of the Witwatersrand. |
| ORCID | 0000-0002-4474-9473 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 0 |
For Every Real Word Spoken
The reviewer pays close attention to the conceptual strategies present in a new body of work by Phoebe Boswell. Produced for a solo exhibition in 2017 at Tiwani Contemporary, London, the work builds on the artist’s exploration of drawing, animation, and technology. The exhibition title, Phoebe Boswell: For Every Real Word Spoken, is taken from Audre Lorde’s essay, “The Transformation of Silence into Language and Action” (1977). The exhibition is …
Empathic unsettlement’ in the field of vision
I consider Jo Ractliffe's exploration, through photographic media and a video, of Vlakplaas, a site of apartheid-era subterfuge and violence. In the absence of an official historical archive about Vlakplaas, Ractliffe's practice engages with the violence, opacity and mediated narratives marking its presence historically. The work, an affective and performative intervention into historical and political spaces constituted by secrecy and erasure, m…
Foucault's Las Meninas and art‐historical methods
This article focuses on the ways in which Foucault's Las Meninas has been represented and critiqued in art‐historical texts and endeavours to gauge its significance to the discipline, in particular, the “New Art History” of the 1970s and 1980s. Art historians have not yet adequately engaged the historical, philosophical, theoretical and methodological dimension of Foucault's articulation of an archaeology of the structures of thought and the sign…
Strategies of veiling same-sex desire and its public consumption
In 1893 Aubrey Beardsley was commissioned to illustrate the 1894 English edition of Oscar Wilde's notorious play Salome, which Wilde had originally written in French during his stay in Paris in 1891. Both text and illustrations have provoked a great deal of public controversy and while this article does not present a comprehensive account of public reception of the Salome, it will focus on critical debates generated by the responses of state cens…
No prominent works on this page.
Strategies of veiling same-sex desire and its public consumption
In 1893 Aubrey Beardsley was commissioned to illustrate the 1894 English edition of Oscar Wilde's notorious play Salome, which Wilde had originally written in French during his stay in Paris in 1891. Both text and illustrations have provoked a great deal of public controversy and while this article does not present a comprehensive account of public reception of the Salome, it will focus on critical debates generated by the responses of state cens…
Foucault's Las Meninas and art‐historical methods
This article focuses on the ways in which Foucault's Las Meninas has been represented and critiqued in art‐historical texts and endeavours to gauge its significance to the discipline, in particular, the “New Art History” of the 1970s and 1980s. Art historians have not yet adequately engaged the historical, philosophical, theoretical and methodological dimension of Foucault's articulation of an archaeology of the structures of thought and the sign…
Empathic unsettlement’ in the field of vision
I consider Jo Ractliffe's exploration, through photographic media and a video, of Vlakplaas, a site of apartheid-era subterfuge and violence. In the absence of an official historical archive about Vlakplaas, Ractliffe's practice engages with the violence, opacity and mediated narratives marking its presence historically. The work, an affective and performative intervention into historical and political spaces constituted by secrecy and erasure, m…
For Every Real Word Spoken
The reviewer pays close attention to the conceptual strategies present in a new body of work by Phoebe Boswell. Produced for a solo exhibition in 2017 at Tiwani Contemporary, London, the work builds on the artist’s exploration of drawing, animation, and technology. The exhibition title, Phoebe Boswell: For Every Real Word Spoken, is taken from Audre Lorde’s essay, “The Transformation of Silence into Language and Action” (1977). The exhibition is …
Art (4 works) · Aesthetics (3 works) · Politics (3 works) · Sociology (3 works) · Visual arts (3 works) · Art history (2 works) · Law (2 works) · Performative utterance (2 works) · Anthropology (1 work) · Art, Politics, and Modernism (1 work)