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In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful--and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks. -- Publisher description

Arts, Berber --- Berbers --- Ethnicity in art. --- Identity (Psychology) in art. --- Women artists --- Social life and customs.

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Art --- Identity (Psychology) in art. --- Art education --- Education, Art --- Art schools --- Study and teaching. --- Analysis, interpretation, appreciation --- Education

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Isaac Julien est le réalisateur noir le plus important de la scène britannique. Il est internationalement reconnu en tant que artiste, écrivain, enseignant, cofondateur de Sankofa Film and Video, un des premiers collectifs de jeunes réalisateurs noirs britanniques. En 1991, son film Young Soul Rebels a remporté le prix de la semaine de la critique à Cannes. Son travail se joue des disciplines et des genres, associant films indépendants, documentaires, art vidéo et installations. Il met en scène et requestionne différents stéréotypes sur la question de l'identité noire et homosexuelle.Pour le Centre Pompidou, il réalise actuellement une nouvelle installation de films inédits. Pour le catalogue de la collection Espace 315 qui lui est consacrée à cette occasion, il a accepté d'ouvrir ses archives afin de documenter le développement et les enjeux de son parcours artistique.

Cinéma --- Cinéma expérimental --- Installation-art --- Nouveau média --- Identity (Psychology) in art --- Video art --- Installations (Art) --- Julien, Isaac --- Julien, Isaac

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L'ouvrage donne une lecture de l'histoire du portrait comme étant celle de la vérité en peinture, dont parlent Cézanne et Derrida. De l'immortalisation et la glorification du modèle à son effacement dans une vision brouillée ou un miroir sans reflet, il s'agit autant de la vérité du sujet que de celle de l'art.

Identity (Psychology) in art --- Portraits --- Portrait painting --- Identité (Psychologie) dans l'art --- Peinture de portraits --- Philosophy --- Identité (Psychologie) dans l'art --- Portraits - Philosophy

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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 (École des hautes études en sciences sociales), Monika Kin Gagnon (Concordia University), Beate Ochsner (University of Mannheim -Universität Mannheim), Claudette Lauzon (McGill University), David Tomas (Université du Québec à Montréal), Slavoj Zizek (Ljubljiana University and University of London), Marie Fraser (Université du Québec à Montréal), Alice Ming Wai Jim (Concordia University), Julie Lavigne (Université du Québec à Montréal), Amelia Jones (University of Manchester), Eric Michaud (École des hautes études en sciences sociales), Hélène Samson (McCord Museum), and Thierry Bardini (Université de Montréal)."

Arts, Modern --- Identity (Psychology) in art. --- Identity (Psychology) and mass media. --- Mass media and identity --- Mass media --- Arts --- Identité (Psychologie) dans l'art. --- Identité (Psychologie) et médias.