Papers by Jill Casid
Filozofski vestnik, Dec 22, 2023
Journal of Visual Culture
This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visua... more This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visual Cultures. That event was organized to celebrate the recently published themed issue of Journal of Visual Culture on new work in transgender art and visual cultures, guest edited by Cyle Metzger and Kirstin Ringelberg, and suggested for the journal by Jill H Casid. The themed issue emerged from a session run at the College Art Association in New York, 2018, programmed by Metzger and Ringelberg. For the event in November 2021, some of the contributors to the journal’s themed issue (Kara Carmack, Sascha Crasnow, Stamatina Gregory, Cyle Metzger and Kirstin Ringelberg) were joined by interlocutor Jill Casid, and respondent Jack Halberstam to share their thoughts on trans visual culture/s now, and to consider what it is to write trans visual culture, as well as to live in relation to transness. The event happened to fall on Transgender Day of Remembrance. Given the fraught or ambivalent feel...
Huntington Library Quarterly, 2021
The International Association for Visual Culture and the Journal of Visual Culture invite submiss... more The International Association for Visual Culture and the Journal of Visual Culture invite submissions for the Early Career Researcher Prize. Current doctoral students and recent PhDs (within 5 years of degree) may submit original, unpublished essays on any topic related to visual culture. The prize-winning essay/s will be considered for publication in the
journal, pending revisions advised by the committee and the journal’s editorial collective. Final selections will be made by a committee of IAVC and JVC board members, including Sara Blaylock (University of Minnesota Duluth), Jill Casid (University of Wisconsin Madison), Almira Ousmanova (European Humanities University), and Jae Emerling (University of North
Carolina Charlotte).
... A work that suggests a pathway is the 1996 novel Cereus Blooms at Night by the video maker, v... more ... A work that suggests a pathway is the 1996 novel Cereus Blooms at Night by the video maker, visual artist, and fiction writer Shani Mootoo, born of Indian parents in Ireland, raised in Trinidad, and now a "migrant" cultural worker between Vancouver and New York.9 If we take ...
Photography and Culture
Abstract Thinking with the current return to camera-less photography and specifically the use of ... more Abstract Thinking with the current return to camera-less photography and specifically the use of the photogram in the context of Capitalocene crisis as scene of compounded death I call the Necrocene, this article unfolds a set of propositions on photography’s pressing relation to death. In thanatographic praxis, death materializes not as the documented and shown or “death-as-image.” Rather, this thanatophotographic praxis works with the process of dying as medium in the vulnerable materiality of the bare exposure as something other and more than a matter of mourning. This new ars moriendi does not just contest but also potentially offers an ethico-aesthetic tactics for transforming—at the scale of the micro—the macro and even hyper-conditions in which we are living our dying in capital’s Necrocene. Focusing particularly on what artist Joy Episalla terms the foldtogram, this article unfolds thanatographic practice as not merely a creative refusal of the extractive and surveilling terms of compulsory visualization but also as the tactical exercise of a kind of melancholy joy that works the folds of photography’s wild performativity. Neither limited to the effects of analogue nor merely functioning analogically, photography’s wild performativity expands the processual scene of making to affect more than its referent.
Journal of Visual Culture
Mis-hear the ‘cene’ in Anthropocene and we are not beholders of an epoch or witnesses to a prospe... more Mis-hear the ‘cene’ in Anthropocene and we are not beholders of an epoch or witnesses to a prospect of distancing projection onto a deep past or lost future but, rather, in the scene of our undoing. In this scene that I reframe as the Necrocene, there are still ways of doing things with being undone. Current art practice offers a new ars moriendi to make contestatorily palpable and even transform the necropolitical conditions of the Necrocene crisis by working with the strangely resilient powers of death. Current practices that deform the landscape-form demonstrate how the vulnerability of living our dying offers a queer material medium to agitate for livable life toward a black, trans* more-than-human commons.
Http Dx Doi Org 10 1162 Dram_A_00218, Nov 19, 2012
GLQ: A Journal of Lesbian and Gay Studies, 2009
... friend willing to jerk off in your bathroom. Knowledge of how to get pregnant without sex was... more ... friend willing to jerk off in your bathroom. Knowledge of how to get pregnant without sex was passed along in the workshops and informal networks of the women's health movement. Fast-forward thirty years, and we find lesbians ...
The Journal of Visual Culture marks the 40th anniversary of John Berger’s 'Ways of Seeing'... more The Journal of Visual Culture marks the 40th anniversary of John Berger’s 'Ways of Seeing', the 1972 BBC television mini-series and adapted book with a special issue edited by Raiford Guins, Juliette Kristensen, and Susan Pui San Lok. Berger's book, now part of the Penguin on Design series which includes Sontag’s 'On Photography' and McLuhan’s 'The Medium is the Message', has been a monumental influence on the fields of art history, cultural studies, design, visual communication, and, of course, visual culture studies. With an editorial by Guins, the issue includes contributions from Mieke Bal, Geoffrey Batchen, Lisa Cartwright, Jill Casid, Laurie Beth Clark, Clive Dilnot, Jennifer Gonzalez, Martin Jay, Guy Julier, Louis Kaplan, Peter Lunenfeld, Griselda Pollock, Adrian Rifkin, Vanessa Schwartz, and Marita Sturken. It features an interview by Juliette Kristensen with the programmes’ and book’s producers Mike Dibb and Richard Hollis, as well as a photo essay by Susan pui san Lok, that draws on Dibb’s personal archive to highlight the televisual project’s collaborative production and material traces. As the Journal’s Events editor, Lok also commissioned five photo-essays that take up some of the book’s enduring themes: Julian Stallabrass continues the circuitous critique of looking, desiring, and selling, into the realm of subvertising; Sonia Boyce plays on the relay and duplication of eyes and lenses, rotating around and with their at least doubled subjects; Ming Wong shifts centres and perspectives, transposing the intermingled dreams of advertising and movie industries from 1950s Hollywood to 1950s Singapore, and so-called West to East; John Timberlake alludes to the politics and disavowal of climate change, hinting at pollutant incursions upon an urban picturesque; while Broomberg and Chanarin, in the face of saturated, mediatised and televised violence and death, implicate the viewer in ways of seeing and the politics of looking, then and now.
All work rests on other work, sometimes evident in the fi nal product and sometimes invisible. Fi... more All work rests on other work, sometimes evident in the fi nal product and sometimes invisible. First, we want to thank Shannon Brennan for her meticulous indexing and Catherine Zusky for her painstaking transcription of our interview with Elaine Scarry. We want to thank Elaine Scarry for her generous commitment to the interview, during a busy season of winter holidays. We also wish to acknowledge the dual conferences that gave birth to the interview and to this volume. In May 2009, Elaine Scarry gave a keynote lecture at "Beyond Environmentalism: Culture, Justice, and Global Ecologies," a conference organized by Stephanie LeMenager at the University of California, Santa Barbara, with major funding from the UC Humanities Research Institute. Six other chapters from this volume refl ect the intimate and challenging conversations that took place at this conference, which also featured a brilliant keynote by Ursula Heise. In March 2009, Jill Casid offered a keynote lecture at "Before Environmentalism," a conference organized by Ken Hiltner and sponsored by the Early Modern Center at the University of California, Santa Barbara. Several chapters in this volume refl ect the central goal of that conference, to explore early modern literary and cultural responses to the environmental issues that preceded and gave shape to modern environmentalism. Without the collegiality and vitality of our conference participants in both venues, this collection would not have gotten off the ground. Lawrence Buell's stunning lecture on environmental memory at UC-Santa Barbara, offered in November 2007, fi rst inspired our ambition to attempt the impossiblee.g., anthologizing a rapidly growing fi eld. Finally, we wish to thank the Association for the Study of Literature and Environment (ASLE), the professional organization that has made possible environmental criticism and our earnest conversation with it. Without the guidance of the good people at Routledge, too, we never would have found voice.
With globalization steadily reshaping the cultural landscape, scholars have long called for a ful... more With globalization steadily reshaping the cultural landscape, scholars have long called for a full-scale reassessment of art history's largely Eurocentric framework. This collection of case studies and essays, the latest in the Clark Studies in the Visual Arts series, brings together voices from various disciplinary and theoretical backgrounds, each proposing ways to remap, decenter, and reorient what is often assumed to be a unified field. Rather than devise a one-size-fits-all strategy for what has long been a divided and disjointed terrain, these authors and artists reframe the inherent challenges of the global--most notably geographic, political, aesthetic, and linguistic differences--as productive starting points for study. As the book demonstrates, approaching art history from such alternative perspectives rewrites some of the most basic narratives, from the origins of representation to the beginnings of the "modern" to the very history of globalization and its e...
Eighteenth-Century Studies, 1997
Eighteenth-Century Studies Copyright © 1997 by The American Society for Eighteenth-Century Studie... more Eighteenth-Century Studies Copyright © 1997 by The American Society for Eighteenth-Century Studies. All rights reserved. Eighteenth-Century Studies 30.3 (1997) 304-318, ...
Books by Jill Casid
Arguing that the current imaginary of transplantation has not merely a mythological but also a co... more Arguing that the current imaginary of transplantation has not merely a mythological but also a colonial history, this essay extends my work on the way in which colonial transplants remade the Caribbean and relayed to radically alter the metropolis, work which I began in my book Sowing Empire: Landscape and Colonization. If contemporary discourses and practices of transplantation and the present use of the name "chimera" to designate transplant subjects do, indeed, have, as I lay out in this essay (and the larger project of which it forms a small part), a colonial history of race, sex, environmental preservationism, and landscaping and, as the early modern relocation and (cross)breeding of human bodies, animals, and plants suggest, the current discourses and representations of transplantation are deeply imbricated with colonial taxonomies of race, gender, and sex, with colonial hierarchies of what is "human" and what counts as "culture," and with early modern practices of what Michel Foucault called "biopower" (particularly, the production of power through efforts to control reproduction in all its forms), then I propose that we have something to learn and even to hope from the protean ontological possibilities of monstrous, chimerical, or “queer nature” and the new indeterminate figurations and subjects to come after the protectionism of “endangered species” and in creative agonistic contact with the colonial history of its before.
Collaboration in Art Practices by Jill Casid
Art Journal, 1997
Tableau is inextricably bound to pre-modernist European art theory and practice. It is possible t... more Tableau is inextricably bound to pre-modernist European art theory and practice. It is possible to reconceptualize and work with photo-tableaux to position women and minorities as agents rather than as objects of the past.
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Papers by Jill Casid
journal, pending revisions advised by the committee and the journal’s editorial collective. Final selections will be made by a committee of IAVC and JVC board members, including Sara Blaylock (University of Minnesota Duluth), Jill Casid (University of Wisconsin Madison), Almira Ousmanova (European Humanities University), and Jae Emerling (University of North
Carolina Charlotte).
Books by Jill Casid
Collaboration in Art Practices by Jill Casid
journal, pending revisions advised by the committee and the journal’s editorial collective. Final selections will be made by a committee of IAVC and JVC board members, including Sara Blaylock (University of Minnesota Duluth), Jill Casid (University of Wisconsin Madison), Almira Ousmanova (European Humanities University), and Jae Emerling (University of North
Carolina Charlotte).