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Curating Sticky Relations: Transdisc...

Apsey, Katie Elizabeth.

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Curating Sticky Relations: Transdisciplinary Performance and Excessive Aesthetics in the Work of Indigenous Artists.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Curating Sticky Relations: Transdisciplinary Performance and Excessive Aesthetics in the Work of Indigenous Artists./
Author:	Apsey, Katie Elizabeth.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	568 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-01, Section: A.
Contained By:	Dissertations Abstracts International83-01A.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28547497
ISBN:	9798516930638

Curating Sticky Relations: Transdisciplinary Performance and Excessive Aesthetics in the Work of Indigenous Artists.
Apsey, Katie Elizabeth.

Curating Sticky Relations: Transdisciplinary Performance and Excessive Aesthetics in the Work of Indigenous Artists. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 568 p.

Source: Dissertations Abstracts International, Volume: 83-01, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2021.

This item must not be sold to any third party vendors.

This dissertation compares and contrasts the performance works of two Indigenous transdisciplinary artists who have historically been discussed as dancers or choreographers: Yup'ik artist Emily Johnson and Seneca artist Rosy Simas. By considering their dance works alongside their workshops, exhibition curation, community volunteerism, dialogues, panels, writing, visual art, volunteer work, decolonial somatic practices, and even feasting, I analyze their art practices as durational, relational, transdisciplinary art rather than as stand-alone staged dance works with supplementary programming. These artists curate what I theorize as an "excessive aesthetic of assemblage." Through myriad methodologies and an abundance of engagement practices, this aesthetics in excess not only re-conceptualizes what can be considered "dance," but also activates embodied ethical relationalities-for both Native and non-Native audience members. The scholarly questions that undergird this dissertation are largely questions of process. I ask how the two artists curate three strands of relational activation: relations with territory (land, space, place, location), relations with time (non-linear time or multiple co-existing temporalities, memory, histories, futurities), and relations with audience (between audience members themselves, between the artist and viewer, between the work and secondary viewers like readers of this dissertation, and between audience members and the act of spectatorship itself). Working across and through the fields of art history and art theory, dance and art criticism, performance studies, Native and Indigenous studies, political and philosophical theory, and gender studies, I question the limits of disciplinary discourses and the problematic nature of categorization in relation to contemporary Indigenous art. I write to forward "discourses of desire" and "Indigenous futurity" over damage narratives while centering Indigenous insistence and resurgence. The chapters flow between performative description, reception critique, institutional critique, art analysis, biography, and discourse analysis in order to take these performances seriously as a type of embodied knowledge that holds/produces/actives/re-activates memory, history, and cultural knowledge through the development of excessive relations.

ISBN: 9798516930638Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Indigenous art

Curating Sticky Relations: Transdisciplinary Performance and Excessive Aesthetics in the Work of Indigenous Artists.
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