Johanne Lamoureux

Through the study of exemplary media works and practices - photography, film, video, performance, installations, web cams - scholars from various disciplines call attention to the unsettling of identification and the disablement of vision in contemporary aesthetics. To look at an image that prevents the stabilization of identification, identity and place; to perceive a representation that oscillates between visibility and invisibility; to relate to an image which entails a rebalancing of sight through the valorization of other senses; to be exposed, through surveillance devices, to the gaze of new figures of authority - the aesthetic experiences examined here concern a spectator whose perception lacks in certainty, identification, and opticality what it gains in fallibility, complexity, and interrelatedness. Precarious Visualities provides a new understanding of spectatorship as a relation that is at once corporeal and imaginary, and persistently prolific in its cultural, social, and political effects. Contributors include Raymond Bellour (Ecole des hautes etudes en sciences sociales), Monika Kin Gagnon (Concordia University), Beate Ochsner (University of Mannheim -Universitat Mannheim), Claudette Lauzon (McGill University), David Tomas (Universite du Quebec a Montreal), Slavoj Zizek (Ljubljiana University and University of London), Marie Fraser (Universite du Quebec a Montreal), Alice Ming Wai Jim (Concordia University), Julie Lavigne (Universite du Quebec a Montreal), Amelia Jones (University of Manchester), Eric Michaud (Ecole des hautes etudes en sciences sociales), Helene Samson (McCord Museum), and Thierry Bardini (Universite de Montreal)."

Through the study of exemplary media works and practices - photography, film, video, performance, installations, web cams - scholars from various disciplines call attention to the unsettling of identification and the disablement of vision in contemporary aesthetics. To look at an image that prevents the stabilization of identification, identity and place; to perceive a representation that oscillates between visibility and invisibility; to relate to an image which entails a rebalancing of sight through the valorization of other senses; to be exposed, through surveillance devices, to the gaze of new figures of authority - the aesthetic experiences examined here concern a spectator whose perception lacks in certainty, identification, and opticality what it gains in fallibility, complexity, and interrelatedness. Precarious Visualities provides a new understanding of spectatorship as a relation that is at once corporeal and imaginary, and persistently prolific in its cultural, social, and political effects. Contributors include Raymond Bellour (Ecole des hautes etudes en sciences sociales), Monika Kin Gagnon (Concordia University), Beate Ochsner (University of Mannheim -Universitat Mannheim), Claudette Lauzon (McGill University), David Tomas (Universite du Quebec a Montreal), Slavoj Zizek (Ljubljiana University and University of London), Marie Fraser (Universite du Quebec a Montreal), Alice Ming Wai Jim (Concordia University), Julie Lavigne (Universite du Quebec a Montreal), Amelia Jones (University of Manchester), Eric Michaud (Ecole des hautes etudes en sciences sociales), Helene Samson (McCord Museum), and Thierry Bardini (Universite de Montreal)."

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.