‘On the Line’: a report on shifting collaborations around clotheslines

Ossman, Susan

doi:10.1080/02560046.2016.1205332

Cited by 3 publications

(6 citation statements)

References 11 publications

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“…7 I am at ease with the idea that art made in the field can thus witness the "excess" of ethnography that texts cannot include or understandings that the current state of a discipline can countenance. 8 Yet, to work on the materials and ways of employing them in the institute, I needed to find distance from some of the gestures I found "natural," not only due to academic habits but also ingrained in my artistic practices (Ossman 2014).…”

Section: Referencesmentioning

confidence: 99%

“…On excess and fieldwork see, e.g., Gandolfo and Ochoa (2020: 185). I have also discussed this with respect to broader considerations of modernity, the body, and Enlightenment ideals in my work in a comparative study of beauty salons in Casablanca, Paris, and Cairo (Ossman 2002).…”

Section: Referencesmentioning

confidence: 99%

“…At the time, I didn't have a name for it, but it was developing as I trained my hand and eye to be attentive to sound and the shadow of dissertation analytics on that sunny afternoon. Following what I was writing, about images and their circulation, power, and the politics of national images, I was acutely aware of the specific properties of pictures: how they can present a layered commentary in ways that writing cannot (Ossman 1994). I was grappling with how the multiplicity of sounds might be best recorded in such a polysemic form.…”

Section: Field Notesmentioning

confidence: 99%

“…23. This has led me to develop a technique of drawing/writing/painting I call "almost writing" (Ossman 2010).…”

Section: Field Notesmentioning

confidence: 99%

“…As will become clear in the coming pages, the kind of "portable shifting" of form she writes about is both one that I have drawn into fieldwork as a productive venture and one that I have had to figure out as I have experienced being a shifting and evolving kind of subject in the world. Also see Ossman (2013) and the use of White (1999) for a less "playful" and art-based approach to form with regard to processes of subject formation.…”

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confidence: 99%

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An exhibition in fieldwork form

Ossman

2021

HAU: Journal of Ethnographic Theory

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This is an exhibition of fieldwork art adapted to the page. It is set out following the typical stages of an anthropological research project and presents works that were both made through fieldwork and exhibited as art. The strategy is one of "blending" and playful displacement by way of objects that highlight the dual identity and practice of the anthropologist/artist. Working with artworks that were made with spoken, written, or printed words and texts extends this approach of practical rapprochement between the fields to explore how decisions about genre and material are related to the variable configurations of the field of publics and of the two spheres of activity.

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Section: Referencesmentioning

confidence: 99%

Section: Referencesmentioning

confidence: 99%

Section: Field Notesmentioning

confidence: 99%

“…23. This has led me to develop a technique of drawing/writing/painting I call "almost writing" (Ossman 2010).…”

Section: Field Notesmentioning

confidence: 99%

mentioning

confidence: 99%

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An exhibition in fieldwork form

Ossman

2021

HAU: Journal of Ethnographic Theory

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Lines

Ossman¹

2018

The International Encyclopedia of Anthropology

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While “lines” have always played a role in anthropology, both literally and metaphorically, new connections between art and anthropology and increased attention to the sensory and extratextual aspects of fieldwork and to the presentation of findings have led anthropologists to become more cognizant of how thinking in lines and drawing can be fundamental to the research process and conceptualization. This entry presents an account of these changes from the perspective of a no. 2 pencil.

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Stitching the cloths of serial migrant life: The quilts of Barbara James

Ossman

2019

Borderlands Journal

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In this article, I study the quilting practice of Barbara James to investigate the making of serial migrant subjects. Serial migrants are not from a single place, nor do they travel in the same direction. They have moved beyond a first experience of immigration and in so doing, step beyond the home/host dualities of immigration. One might see the project of following their paths as a move from accounts of the creative, imaginative ‘third space’ produced by immigrants’ arrival in their new homes, toward a consideration of the concrete ‘third place’ of the second or third-time immigrant. Exile, economic migrant, love migrant, exchange student, refugee: a serial migrant adds up not just several identities but systems of categorisation over time. This migratory subject often changes ‘positions’ not only geographically but socially, making us question the static assumptions of social theory with their experiences of diverse approaches to nationality, class, race, ethnicity and gender.

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‘On the Line’: a report on shifting collaborations around clotheslines

Cited by 3 publications

References 11 publications

An exhibition in fieldwork form

An exhibition in fieldwork form

Lines

Stitching the cloths of serial migrant life: The quilts of Barbara James

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