Sampada Aranke
Biographic Data
| ID | 914261 |
|---|---|
| NAME | Sampada Aranke |
| GIVEN NAMES | Sampada |
| FAMILY NAME | Aranke |
| SIGNATURE | ARANKE S |
| AFFILIATIONS | San Francisco Art Institute, San Francisco, CA, U.S.A. |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Reveal and Restraint
Sampada Aranke and Ayanah Moor dialogue on the myriad ways Moor intervenes upon art histories of abstraction in her studio practice. This conversation leads to threads and themes in her practice that open up avenues for rethinking liminality, suspension, and ongoingness that are central to this issue of liquid blackness. Moor calls her method “social abstraction,” by reconsidering how abstraction, a practice mis-categorized as one that transcends…
Context and movement: Attica Series Desk and the future of visual studies
How to See Like Hammons
“HAS ANYONE ELSE SEEN THESE.” Scribed on a wall in pencil, this fragment served as crude wall text for a vitrine in David Hammons's 2019 exhibition at Hauser & Wirth in Los Angeles. The vitrine, filled with memorabilia, photocopies, and rare primary documents, was but one of many locations where Hammons displayed Hammons. To ask “Has anyone else seen these?” is to slyly pose a question that already has an answer: yes, or maybe, or no. Any answer …
Blackouts and Other Visual Escapes
Jack Whitten, Birmingham 1964, 1964, aluminum foil, newsprint, stocking, and oil on plywood, 163⁄8 x 16 in. (42.2 x 40.6 cm) (artwork © Jack Whitten Estate; photograph by John Berens, provided by Jac
Reading and feeling after Scenes of Subjection
It is important to remember that blackness is defined here in terms of social relationality rather than identity; thus blackness incorporates subjects normatively defined as black, the relations am
Crisis management as representational strategy: The arrangement of “African” subjectivities and the 2010 world cup
Africa as the site for the World Cup begs for a media analysis that attends to the dynamics of postcoloniality and globalization. This article looks at the way in which postcolonial subjectivities are arranged in what the authors call a “subject deficit,” where players and fans are already racialized in and against colonial representations that mark them as “backwards” and “savage.” In this representational space, the “deficit” refers not only to…
Reveal and Restraint
Sampada Aranke and Ayanah Moor dialogue on the myriad ways Moor intervenes upon art histories of abstraction in her studio practice. This conversation leads to threads and themes in her practice that open up avenues for rethinking liminality, suspension, and ongoingness that are central to this issue of liquid blackness. Moor calls her method “social abstraction,” by reconsidering how abstraction, a practice mis-categorized as one that transcends…
Reading and feeling after Scenes of Subjection
It is important to remember that blackness is defined here in terms of social relationality rather than identity; thus blackness incorporates subjects normatively defined as black, the relations am
Crisis management as representational strategy: The arrangement of “African” subjectivities and the 2010 world cup
Africa as the site for the World Cup begs for a media analysis that attends to the dynamics of postcoloniality and globalization. This article looks at the way in which postcolonial subjectivities are arranged in what the authors call a “subject deficit,” where players and fans are already racialized in and against colonial representations that mark them as “backwards” and “savage.” In this representational space, the “deficit” refers not only to…
Reading and feeling after Scenes of Subjection
It is important to remember that blackness is defined here in terms of social relationality rather than identity; thus blackness incorporates subjects normatively defined as black, the relations am
Blackouts and Other Visual Escapes
Jack Whitten, Birmingham 1964, 1964, aluminum foil, newsprint, stocking, and oil on plywood, 163⁄8 x 16 in. (42.2 x 40.6 cm) (artwork © Jack Whitten Estate; photograph by John Berens, provided by Jac
Context and movement: Attica Series Desk and the future of visual studies
How to See Like Hammons
“HAS ANYONE ELSE SEEN THESE.” Scribed on a wall in pencil, this fragment served as crude wall text for a vitrine in David Hammons's 2019 exhibition at Hauser & Wirth in Los Angeles. The vitrine, filled with memorabilia, photocopies, and rare primary documents, was but one of many locations where Hammons displayed Hammons. To ask “Has anyone else seen these?” is to slyly pose a question that already has an answer: yes, or maybe, or no. Any answer …
Reveal and Restraint
Sampada Aranke and Ayanah Moor dialogue on the myriad ways Moor intervenes upon art histories of abstraction in her studio practice. This conversation leads to threads and themes in her practice that open up avenues for rethinking liminality, suspension, and ongoingness that are central to this issue of liquid blackness. Moor calls her method “social abstraction,” by reconsidering how abstraction, a practice mis-categorized as one that transcends…
Art (5 works) · Aesthetics (4 works) · Sociology (4 works) · Visual arts (4 works) · History (3 works) · Linguistics (3 works) · Philosophy (3 works) · Photography and Visual Culture (3 works) · Art, Politics, and Modernism (2 works) · Law (2 works)