Description

Book Synopsis
This publication showcases A Hard White Body, an evolving project by Candice Lin presented at B tonsalon--Centre d'art et de recherche, Paris; at Portikus, Frankfurt/Main; and at the Reva and David Logan Center for the Arts, University of Chicago. A Hard White Body weaves together material and nonhuman histories alongside the life and work of three historical figures: American writer James Baldwin (1924-1987); French explorer and global traveler Jeanne Baret (1740-1807); and artist and naturalist Maria Sibylla Merian (1647-1717). Lin uses porcelain, a material whose history includes nineteenth-century imperial and scientific uses, to highlight fantasies surrounding whiteness and purity, only to subject her porcelain assemblages to pungent organic materials. She thus stages processes of contamination between organic and inorganic materials, creating an unstable sculptural ecosystem. In addition to an essay by curator Lotte Arndt that discusses the various iterations of Lin's project, th

Candice Lin A Hard White Body

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    A Hardback by Lotte Arndt, Yesomi Umolu, Lotte Arndt

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      Book details

      Publisher Reva and David Logan Center for the Arts
      Published 15 March 2019
      ISBN-13 9780692138366
      978-0692138366
      ISBN-10 0692138366
      Also in:
      History of art Feminism and feminist theory Social and cultural anthropology

      Description

      Book Synopsis
      This publication showcases A Hard White Body, an evolving project by Candice Lin presented at B tonsalon--Centre d'art et de recherche, Paris; at Portikus, Frankfurt/Main; and at the Reva and David Logan Center for the Arts, University of Chicago. A Hard White Body weaves together material and nonhuman histories alongside the life and work of three historical figures: American writer James Baldwin (1924-1987); French explorer and global traveler Jeanne Baret (1740-1807); and artist and naturalist Maria Sibylla Merian (1647-1717). Lin uses porcelain, a material whose history includes nineteenth-century imperial and scientific uses, to highlight fantasies surrounding whiteness and purity, only to subject her porcelain assemblages to pungent organic materials. She thus stages processes of contamination between organic and inorganic materials, creating an unstable sculptural ecosystem. In addition to an essay by curator Lotte Arndt that discusses the various iterations of Lin's project, th

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