|
Bruce Barber (born in New Zealand in 1950) is an artist, writer, curator, and educator based in Halifax, Nova Scotia, where he teaches at NSCAD University. His artwork has been shown at the Paris Biennale, the Sydney Biennial, the New Museum of Contemporary Art, the Walter Phillips Gallery, London Regional Gallery, and ArtSpace Auckland. Barber is the editor of ''Essays on Performance and Cultural Politicization'' and of ''Conceptual Art: the NSCAD Connection 1967–1973''.〔Bruce Barber, ed. Essays on Performance and Cultural Politicization, ''Open Letter'' Summer-Fall 1983; Bruce Barber, ''Conceptual Art: The NSCAD Connection, 1967–1973'' (Halifax: Anna Leonowens Gallery, 1994)〕 He is co-editor, with Serge Guilbaut and John O'Brian of ''Voices of Fire: Art Rage, Power, and the State''.〔Bruce Barber, Serge Guilbaut and John O'Brian, eds. ''Voices of Fire: Art, Rage, Power, and the State'' (Toronto: University of Toronto Press, 1996).〕 His critical essays have appeared in numerous anthologies, journals and magazines. His art practice is documented in the publication ''Reading Rooms''.〔Bruce Barber, ''Reading Rooms'' (Halifax: Eyelevel Gallery, 1992).〕 He is best known for his early performance work, his Reading Rooms, Squat Projects and his writing and theory on Littoral Art.〔See Stephen Cleland and Blair French, eds, ''Bruce Barber: Work 1970–2008'' (Sydney: Artspace, Manukau: Te Tuhi Centre for the Arts, 2010).〕 ==Reading Rooms== In his ''Reading Rooms'', Barber worked with Alexander Rodchenko's 1925 Reading Room as a model for a workers' library and study. These multi-part installations made use of multi-media formats to re-present various forms of corporate advertising and news reporting. The Red Room addressed the construction of masculinity through media representation. The imagery used for critical readings was obtained from various sites of popular culture including film, advertising, war history, weapons magazines and comic books. The ''Newsroom'' section contained newspaper accounts of male violence; the ''Viewsroom'' contained slide projections; the ''Videoroom'' contained video footage of x-rated films and a Marvin cartoon satirising male parenting behaviour; the ''Theory/Criticism Room'' provided tools with which readers could alter a selection of magazines. A theoretical essay titled "Excision, Detournement and Reading the Open Text" elaborated the process they would have then been using.〔Bruce Barber, "Excision, Detournement and Reading the Open Text," in Barber, ''Reading Rooms'' 90-91.〕 Among some of the aphorisms contained in this essay are the following: 3) The excision is less a surgical operation than a cognitive procedure, opening up the possibilities for renegotiating the areas of signification both within and beyond the image or text. Excising elements from the image confirms the existence of a primary context, pretexts and within the image itself, subtexts which disclose the competing economies of the sign(s). 9) Warning: Excision should not become the servant of censorship. 25) Close reading has never been a good substitute for criticism. 29) Absence only becomes a problem where power is concerned. Absence is difference (Jacques Derrida). Open reading allows readers to acknowledge the provisionality of meaning. Power and political efficacy is a function of use. In this context history may represent change yet remain the same. 30) The open reader accepts his/her status as a political subject with all this may imply. 38) Open reading may assist the promotion of critical education. 39) Critical education may become education for criticism. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bruce Barber」の詳細全文を読む スポンサード リンク
|