Exit Theory: Thinking Photography and Thinking History from One Crisis to Another

British Art Studies

John Tagg¹  Dengyan Zhou²  Siona Wilson³  Elizabeth Edwards⁴  Jonathan Long⁵  Young-June Lee⁶  Shawn Michelle Smith⁷  Vered Maimon⁸  Stephen Sheehi⁹  Jordan Bear^1,10  David Campany^1,11  Geoffrey Batchen^1,12  Laura Wexler^1,13 

[1] Binghamton University;Chinese Photographers magazine;College of Staten Island and the Graduate Center, CUNY;De Montfort University;Durham University;Hanyang University;School of the Art Institute of Chicago;Tel Aviv University;The College of William and Mary in Williamsburg, Virginia;University of Toronto;University of Westminster;Victoria University of Wellington, New Zealand;Yale University;

关键词: Photography;    agency;    activism;    British art;    social movements;    representation;    identity;    politics;   

DOI  :  10.17658/issn.2058-5462/issue-04/conversation

来源: DOAJ

【 摘 要 】

The 1970s in Britain were a period of conflict and upheaval, now seen as marking the end of a long period of economic expansion and the break-up of the postwar social democratic consensus. For many who lived through them, however, these years seemed less of an ending than an opening to new social possibilities and new forms of struggle. A reemerging political radicalism, a second wave of feminist activism and an assertive anti-racist movement challenged ingrained ideas about the space of political action and set in motion new debates about cultural politics that turned on the political function of cultural representations.

【 授权许可】

Unknown