Christine Ross

Olivier Asselin

Johanne Lamoureux

Through the study of exemplary media works and practices - photography, film, video, performance, installations, web cams - scholars from various disciplines call attention to the unsettling of identification and the disablement of vision in contemporary aesthetics. To look at an image that prevents the stabilization of identification, identity and place; to perceive a representation that oscillates between visibility and invisibility; to relate to an image which entails a rebalancing of sight through the valorization of other senses; to be exposed, through surveillance devices, to the gaze of new figures of authority - the aesthetic experiences examined here concern a spectator whose perception lacks in certainty, identification, and opticality what it gains in fallibility, complexity, and interrelatedness. Precarious Visualities provides a new understanding of spectatorship as a relation that is at once corporeal and imaginary, and persistently prolific in its cultural, social, and political effects. Contributors include Raymond Bellour ( cole des hautes tudes en sciences sociales), Monika Kin Gagnon (Concordia University), Beate Ochsner (University of Mannheim -Universit t Mannheim), Claudette Lauzon (McGill University), David Tomas (Universit du Qu bec Montr al), Slavoj Zizek (Ljubljiana University and University of London), Marie Fraser (Universit du Qu bec Montr al), Alice Ming Wai Jim (Concordia University), Julie Lavigne (Universit du Qu bec Montr al), Amelia Jones (University of Manchester), Eric Michaud ( cole des hautes tudes en sciences sociales), H l ne Samson (McCord Museum), and Thierry Bardini (Universit de Montr al).

New Perspectives on Identification in Contemporary Art and Visual Culture

Precarious Visualities

Donald Preziosi

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

Johanne Lamoureux

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