Pursuing a new and timely line of research in world art studies, Humor in Global Contemporary Art is the first edited collection to examine the role of culturally specific humor in contemporary art from a global perspective.
Since the 1960s, increasing numbers of artists from around the world have applied humor as a tool for observation, critique, transformation, and debate. Exploring how humorous art produced over the past six decades is anchored in local sociopolitical contexts and translated or misconstrued when exhibited abroad, this book opens new conversations regarding the functioning of humor and the ways in which art travels across the globe. With contributions by an impressive array of internationally based scholars covering six major continental regions, the book is organized into four distinct geographical sections: Africa and the Middle East, Asia and Oceania, South and North America, and Europe. This structure highlights the cultural specificity of each region while the book as a whole offers a critical perspective on the postcolonial, globalized art network.
Reflecting on present-day processes of globalization and biennialization, which confront viewers with humorous art from a variety of cultures and countries, this book will provide readers with a culturally sensitive understanding of how humor has become vital to many contemporary artists working in an unprecedentedly interconnected world.
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There is a specter haunting contemporary art and its name is humor. Gieskes and Williams have assembled an impressive group of scholars who span continents and contexts, exploring the work of artists who know how to provoke laughter while spurring critical thinking. Comedic gadflies of the globe unite! * Louis Kaplan, Professor, Department of Art History & Department of Visual Studies, University of Toronto, Canada; author of Photography and Humour (2016) * Exploring a topic long overlooked, this book cogently shows that artistic humor comes in many guises: as parody, irony, (tragi)comedy, anecdotes, tricksters pranks, jokes, puns, or mocked clichés; as (self)criticism, dark humor, tongue-in-cheek jest, or fake news. In all cases, though, the humorous signifiers are culturally and politically coded and context-dependent. * Kitty Zijlmans, Professor Emeritus of Contemporary Art History and Theory/World Art Studies, Leiden University, the Netherlands * Upping the antics of funny scholarship, this timely anthology offers a uniquely wide-angled perspective; from Pakistan and Palestine to Asia and Aotoroa/New Zealand; on formations of global, national, regional and local humor. Traveling outside the Freudian slipstream, this volume tracks how comedy plays out in border conflicts, stereotypes, activism and community and identity formations. It leavens, sublimates and jousts with, even ameliorates, our whole earth catalogue of woes. * John C. Welchman, Distinguished Professor of Art History, University of California, San Diego, USA; editor of Black Sphinx: On the Comedic in Modern Art (2010) *
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Addresses the use of humor in contemporary art from a global perspective.
List of Plates
List of Figures
Notes on Contributors
Acknowledgements
Introduction, Mette Gieskes (Radboud University, the Netherlands) and Gregory
Williams (Boston University, USA)
Part One: Africa and The Middle East
1. Negotiated Space: Visual Satire in Contemporary Diasporic Nigerian Art,
Yomi Ola (Spelman College, Atlanta, USA)
2. Lerato Shadi's Sugar & Salt: Laughter beyond Languages, beyond
Generations, in South Africa and in the World, Katja Gentric (École
Supérieure d'Art et Design le Havre Rouen, France)
3. Humorous Art Practices in the Contemporary Middle East: Reacting to
Cultural Stereotypification, Hamid Keshmirshekan (SOAS University of London,
UK)
4. Humor and the Enactment of Statehood: Khalil Rabah and Anticipatory
Aesthetics in Palestine, Chrisoula Lionis (University of Manchester, UK)
Part Two: Asia and Oceania
5. Crossing the Line: Artistic Jests about the Border Struggles of Pakistan
and Palestine, Atteqa Ali (Newark Museum of Art, New Jersey, USA)
6. Humor/Youmo in Chinese Contemporary Art and Online Visual Culture:
Oblique Resistances to Authority and the Traces of Confucian-literati
Aesthetics, Paul Gladston (University of New South Wales, Sydney, Australia)
7. We Require Clear Slogans: Humor in the Russian Monstration, Maria
Sidorkina (University of Texas at Austin, USA) and Jacob Stewart-Halevy
(Tufts University, Medford, USA)
8. The Trickster, Provocateur, Clown, and Joker: Radical Humor in
Contemporary Indonesian Art, Michelle Antoinette (Monash University,
Melbourne, Australia)
9. It's Funny Now, Aye: Humor and Contemporary Art from Oceania, Caroline
Vercoe (University of Auckland, New Zealand)
Part Three: South and North America
10. In the State of Play: Slapstick Enactments and Carnivalesque Humor as
Political Subversion in Brazilian Contemporary Art, Denise Carvalho (School
of Visual Arts, New York, USA)
11. Reír por no llorar: Black Humor in Contemporary Venezuelan Feminist Art,
Tatiana Flores (University of Virginia, USA)
12. Mordacious Humor and Happy Oblivion in Colombia: Bernardo Salcedo's
Distinguishing Features, Gina McDaniel Tarver (Texas State University, USA)
13. The Necessity of Jimmie Durham's Jokes, Richard Shiff (University of
Texas at Austin, USA)
Part Four: Europe
14. Droll Observations: Roman Ondak's Comic Displacements, Sophie Knezic
(University of Melbourne, Australia)
15. The Ersatz Art School and Councils within Councils: Playful Dutch
Institutions of Critique in the 1960s, Janna Schoenberger (Amsterdam
University College, the Netherlands)
16. iek's Joke: Humor and Over-identification in Post-Yugoslav Art, Marko
Ilic (University of Oxford, UK)
17. Aesthetic Incongruity: Art and Humor in Post-Independence Azerbaijan,
Monica Steinberg (University of Hong Kong)
Index
Mette Gieskes is Assistant Professor at Radboud University, The Netherlands.
Gregory H. Williams is Associate Professor of Contemporary Art at Boston University, USA.
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