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The decolonized eye : Filipino American art and performance /
From the late 1980s to the present, artists of Filipino descent in the United States have produced a challenging and creative movement. In The Decolonized Eye, Sarita Echavez See shows how these artists have engaged with the complex aftermath of U.S. colonialism in the Philippines. Focusing on artis...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Minneapolis :
University of Minnesota Press,
©2009.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a See, Sarita Echavez, |e author. | |
| 245 | 1 | 4 | |a The decolonized eye : |b Filipino American art and performance / |c Sarita Echavez See. |
| 260 | |a Minneapolis : |b University of Minnesota Press, |c ©2009. | ||
| 300 | |a 1 online resource (xxxiv, 210 pages, 8 unnumbered pages of plates) : |b illustrations (some color) | ||
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| 337 | |a computer |b c |2 rdamedia | ||
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| 504 | |a Includes bibliographical references (pages 177-188) and index. | ||
| 505 | 0 | |a Introduction: foreign in a domestic sense -- Staging the sublime: An open wound: Angel Shaw and Manuel Ocampo; A queer horizon: Paul Pfeiffer's disintegrating figure studies -- Pilipinos are punny, Freud is Filipino: Why Filipinos make pun(s) of one another: the Sikolohiya/psychology of Rex Navarrete's stand-up comedy; "He will not always say what you would have him say": loss and aural (be)longing in Nicky Paraiso's House/boy -- Conclusion: Reanne Estrada, identity, and the politics of abstraction. | |
| 520 | |a From the late 1980s to the present, artists of Filipino descent in the United States have produced a challenging and creative movement. In The Decolonized Eye, Sarita Echavez See shows how these artists have engaged with the complex aftermath of U.S. colonialism in the Philippines. Focusing on artists working in New York and California, See examines the overlapping artistic and aesthetic practices and concerns of filmmaker Angel Shaw, painter Manuel Ocampo, installation artist Paul Pfeiffer, comedian Rex Navarrete, performance artist Nicky Paraiso, and sculptor Reanne Estrada to explain the reasons for their strangely shadowy presence in American culture and scholarship. Offering an interpretation of their creations that accounts for their queer, decolonizing strategies of camp, mimesis, and humor, See reveals the conditions of possibility that constitute this contemporary archive. By analyzing art, performance, and visual culture, The Decolonized Eye illuminates the unexpected consequences of America's amnesia over its imperial history. | ||
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified] : |c HathiTrust Digital Library, |d 2010. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
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| 650 | 0 | |a Filipino American arts. | |
| 650 | 0 | |a Postcolonialism and the arts |z United States. | |
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| 650 | 7 | |a ART |x Performance. |2 bisacsh | |
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| 650 | 7 | |a Postcolonialism and the arts |2 fast | |
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