Revolution and After
Bibliographic Data
| ID | 4300636 |
|---|---|
| Authors | Stephanie Schwartz (0000-0002-5911-6054, STEPHANIE SCHWARTZ is a Lecturer in the History of Art Department at University College London. Her writing on photography and film has appeared in ARTMargins, Oxford Art Journal, and Third Text., corresponding author) |
| Year | 2016 |
| Volume | 158 |
| Pages | 126-154 |
| Publication date | 2016-10-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | October (JOURNAL) |
| Journal identifiers | ISSN: 0162-2870 • E-ISSN: 1536-013X |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/octo_a_00274 |
| OpenAlex | W2472599985 |
| Language | EN |
| References cited | 8 |
In 1988, the Cuban collective ABTV engaged in its first of several acts of art-historical homage. ABTV (Tanya Angulo, Juan Pablo Ballester, José Ángel Toirac, and Illeana Villazón) photocopied reproductions of Sherrie Levine's After Series, the now canonical work of postmodernism in which Levine rephotographed reproductions of selection of photographs by America's white male modernist masters. This essay takes ABTV's homage as the starting point for an inquiry into the relationship between postmodernism and postcolonialism. How, it asks, has an obsession with "ends" shaped our histories of photography and revolution
Art · Art history · Literature · Modernism (music · Photography · Postcolonialism (international relations · Postmodernism · Sociology · Visual arts · White (mutation · Cuban History and Society · Gender Studies · Latin American and Latino Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |