Fiona Johnstone – författare

The portrait has historically been understood as an artistic representation of a human subject. Its purpose was to provide a visual or psychological likenesses or an expression of personal, familial or social identity; it was typically associated with the privileged individual subject of Western modernity. Recent scholarship in the humanities and social sciences however has responded to the complex nature of twenty-first century subjectivity and proffered fresh conceptual models and theories to analyse it.The contributors to Anti-Portraiture examine subjectivity via a range of media including sculpture, photography and installation, and make a convincing case for an expanded definition of portraiture. By offering a timely reappraisal of the terms through which this genre is approached, the chapter authors volunteer new paradigms in which to consider selfhood, embodiment and representation. In doing so they further this exciting academic debate and challenge the curatorial practices and acquisition policies of museums and galleries.

The portrait has historically been understood as an artistic representation of a human subject. Its purpose was to provide a visual or psychological likenesses or an expression of personal, familial or social identity; it was typically associated with the privileged individual subject of Western modernity. Recent scholarship in the humanities and social sciences however has responded to the complex nature of twenty-first century subjectivity and proffered fresh conceptual models and theories to analyse it.The contributors to Anti-Portraiture examine subjectivity via a range of media including sculpture, photography and installation, and make a convincing case for an expanded definition of portraiture. By offering a timely reappraisal of the terms through which this genre is approached, the chapter authors volunteer new paradigms in which to consider selfhood, embodiment and representation. In doing so they further this exciting academic debate and challenge the curatorial practices and acquisition policies of museums and galleries.

The portrait has historically been understood as an artistic representation of a human subject. Its purpose was to provide a visual or psychological likenesses or an expression of personal, familial or social identity; it was typically associated with the privileged individual subject of Western modernity. Recent scholarship in the humanities and social sciences however has responded to the complex nature of twenty-first century subjectivity and proffered fresh conceptual models and theories to analyse it.The contributors to Anti-Portraiture examine subjectivity via a range of media including sculpture, photography and installation, and make a convincing case for an expanded definition of portraiture. By offering a timely reappraisal of the terms through which this genre is approached, the chapter authors volunteer new paradigms in which to consider selfhood, embodiment and representation. In doing so they further this exciting academic debate and challenge the curatorial practices and acquisition policies of museums and galleries.

AIDS & Representation explores portraits and self-portraits made in response to the AIDS epidemic in America in the 1980s and 1990s. Addressing the work of artists including Mark Morrisroe, Robert Blanchon and Felix Gonzalez-Torres through the interrelated themes of sickness and mortality, desire and sexual identity, love and loss, Fiona Johnstone shows how the self-representational practices of artists with HIV and AIDS offered a richly imaginative response to the limitations of early AIDS imagery. Johnstone argues that the AIDS epidemic changed the very nature of visual representation and artistic practice, necessitating a radical new approach to conceptualising and visualising the human form. An extended epilogue considers the ongoing art historicization of the epidemic, re-contextualising the book’s themes in relation to contemporary photographic works.More than just a historical discussion of the art of the AIDS crisis, AIDS and Representation contributes to an emergent body of scholarship on the visual representation of illness. Expanding the established genre of the autopathography or illness narrative beyond the predominantly textual, this important contribution to art history and health humanities sensitively unpicks the entanglements between aesthetic form and the expression of lived experiences of critical and chronic ill health.

This agenda-setting edited volume, published open access, makes a forceful case for the contribution that art – its practices and its histories – can make to debates and developments in critical medical humanities today.Whilst medical humanities previously emphasised an instrumental attitude towards art and art-making, recent work has opened up a dynamic space in which art can critically and imaginatively operate. With urgent attention paid to constructions of race, gender, class, sexuality and disability, the artists, art historians, and scholars in related fields represented within this volume address new and pressing questions about structures and experiences of health, medical knowledge, care, therapy, and clinical research and education.With more than 40 contributors from a range of countries including the UK, Canada, the United States, Australia, Norway, Spain, and Germany, this landmark and multi-format collection addresses artworks from the sixteenth century to the present day, serving as a key reference point for researchers, practitioners, and educators working in medical humanities and art-aligned fields alike.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Social Sciences and Humanities Research Council of Canada and the Wellcome Trust.

AIDS & Representation explores portraits and self-portraits made in response to the AIDS epidemic in America in the 1980s and 1990s. Addressing the work of artists including Mark Morrisroe, Robert Blanchon and Felix Gonzalez-Torres through the interrelated themes of sickness and mortality, desire and sexual identity, love and loss, Fiona Johnstone shows how the self-representational practices of artists with HIV and AIDS offered a richly imaginative response to the limitations of early AIDS imagery. Johnstone argues that the AIDS epidemic changed the very nature of visual representation and artistic practice, necessitating a radical new approach to conceptualising and visualising the human form. An extended epilogue considers the ongoing art historicization of the epidemic, re-contextualising the book’s themes in relation to contemporary photographic works.More than just a historical discussion of the art of the AIDS crisis, AIDS and Representation contributes to an emergent body of scholarship on the visual representation of illness. Expanding the established genre of the autopathography or illness narrative beyond the predominantly textual, this important contribution to art history and health humanities sensitively unpicks the entanglements between aesthetic form and the expression of lived experiences of critical and chronic ill health.

This book explores the intersections between wearable objects and human health, with particular emphasis on how artists and designers are creatively responding to and rethinking these relations. Addressing a rich range of wearable artefacts, from mobility aids and prosthetics to clothing and accessories to digital health tracking devices, its themes include care and cure; wellness culture and the commoditization of health; and the complex interactions between (human) bodies and (non-human) objects. With a theoretical framework inspired by the work of materialist thinkers including Sherry Turkle, Bruno Latour and Jane Bennett, and bringing the disciplinary fields of fashion studies, art and design practice, and medical and health humanities into dialogue for the first time, this volume draws attention to the complex agencies entangled in the things we wear, and situates fashion and art in relation to broader cultural and historical contexts of health, illness and disability.

This book explores the intersections between wearable objects and human health, with particular emphasis on how artists and designers are creatively responding to and rethinking these relations. Addressing a rich range of wearable artefacts, from mobility aids and prosthetics to clothing and accessories to digital health tracking devices, its themes include care and cure; wellness culture and the commoditization of health; and the complex interactions between (human) bodies and (non-human) objects. With a theoretical framework inspired by the work of materialist thinkers including Sherry Turkle, Bruno Latour and Jane Bennett, and bringing the disciplinary fields of fashion studies, art and design practice, and medical and health humanities into dialogue for the first time, this volume draws attention to the complex agencies entangled in the things we wear, and situates fashion and art in relation to broader cultural and historical contexts of health, illness and disability.