Bob Marley entre nous deux : essai sur les enchaînements de la mimesis

Ossman, Susan

doi:10.4267/2042/14954

Cited by 1 publication

(1 citation statement)

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“…I used new materials, but more than this, I departed from my lyrical tendencies to develop something I felt was more in line with Juliann's aesthetic and personal values and style. The work involved complicity that engaged difference of a kind well known to ethnographers but that can be diffi cult to assimilate and address in art, at least in my experience (Marcus 1997;Ossman 1998). Matrice was a piece I was happy to give to Juliann and that I would gladly include in a public exhibition.…”

Section: Juliannmentioning

confidence: 99%

Making Matrice : Intersubjectivity in Ethnography and Art

Allison¹,

Ossman²

2014

cla

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Through collaborative research design and creative process, artists, activists, and researchers often seek to give voice to underrepresented communities, to gain a better mutual understanding of common experiences or to call attention to issues of public interest. Artists and ethnographers work together to probe topics of common concern or to devise projects that bring people together to stage events or develop community artworks. 1 Fewer collaborative projects involving the arts focus on more intimate topics and situations; and those that do rarely have the production of art as their primary goal. 2 In this article we develop an intersubjective narrative (McCleary and Viotti 2009) about one such project that resulted in the making of Matrice, an installation composed of latex, burlap, and oil paint on canvas panels.In addition to the intersubjectivity of written word and audience, the Matrice narrative itself embodies dual related intersubjectivities (Mc-Cleary and Viotti 2009; Stolorow 2013)-a reconstructed conversation between the authors as well as the physical interaction between Susan as artist and the presence of Juliann in the form of a plaster belly cast. Juliann's exploration of her experience of maternity motivated Susan's artwork, itself informed by her skills as an ethnographer as well as an artist. The contours of our collaboration derive from two traditional mises en scène: that of fi gure drawing and portrait painting, which involves an artist and a model, and that of the researcher engaged in fi eld-

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Section: Juliannmentioning

confidence: 99%