Genevieve Hyacinthe
Biographic Data
| ID | 5456280 |
|---|---|
| NAME | Genevieve Hyacinthe |
| GIVEN NAMES | Genevieve |
| FAMILY NAME | Hyacinthe |
| SIGNATURE | HYACINTHE G |
| AFFILIATIONS | School of Visual Arts |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
Love is the Message: Barkley Hendricks’s MFSB Portrait Aesthetics
Barkley L. Hendricks’s (1945-2017) portraiture is considered in relation to camp’s liminal nature. Hendricks employs the camp techniques of surface emphasis, and affective audience engagement, to relay a political message of black agency. His portraiture is framed with dynamics of MFSB, a popular culture movement developed in his hometown, Philadelphia, during the era of the 1970s. The paper brings to light Hendricks’s participation within the co…
Reaching Sideways, Writing Our Ways: The Orientation of the Arts of Africa Discourse
Ruth Simbao: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodicall…
Reaching Sideways, Writing Our Ways: The Orientation of the Arts of Africa Discourse
Ruth Simbao: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodicall…
Love is the Message: Barkley Hendricks’s MFSB Portrait Aesthetics
Barkley L. Hendricks’s (1945-2017) portraiture is considered in relation to camp’s liminal nature. Hendricks employs the camp techniques of surface emphasis, and affective audience engagement, to relay a political message of black agency. His portraiture is framed with dynamics of MFSB, a popular culture movement developed in his hometown, Philadelphia, during the era of the 1970s. The paper brings to light Hendricks’s participation within the co…
Reaching Sideways, Writing Our Ways: The Orientation of the Arts of Africa Discourse
Ruth Simbao: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodicall…
Art (2 works) · Visual arts (2 works) · Aesthetics (1 works) · Agency (philosophy (1 works) · Art, Politics, and Modernism (1 works) · Computer Science (1 works) · Decolonial Thought and Epistemologies (1 works) · Latin American and Latino Studies (1 works) · Law (1 works) · Law (1 works)