Paula Gardner and Charles Reeve co-edit PUBLIC 49: TRAUMA

 

Tuesday, June 24, 2014 - 3:30pm

Associate Professors Paula Gardner and Charles Reeve are celebrating the launch of PUBLIC 49: TRAUMA, the latest issue of the interdisciplinary, double blind peer-reviewed visual arts journal. As co-editors, Gardner and Reeve curated the publication, which includes works by Francis Frascina, Lynn Crosbie, Florence Duchemin-Pelletier, Lloyd C. McCracken, Deanna Browne, Blake Fitzpatrick and Vid Ingelevics, and Ian Balfour.

Abstract:
When culture responds to trauma, it seems self-evident that three mechanisms are involved: the event, the trauma it provokes, and the cultural response. But what if that is backwards? What if trauma is itself a cultural production, borne of a need for societies to see themselves as traumatized? By bringing together essays, artistic interventions, and poetry, this collection examines trauma’s relation to culture in a variety of settings, from contemporary visual culture, to the art of the Inuit, to personal remembrances. Along the way, our contributors inspect the place of catharsis in the constellation of event, disturbance, repression, and release. To highlight the complexity of these mechanisms, we are especially pleased that “Trauma” includes “For You, The War is Over,” a previously-unpublished recollection by Canadian Airman Lloyd McCracken of his time in a Nazi POW camp, presented here with the generous permission of his family.

Preview and purchase PUBLIC 29: TRAUMA online 

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Image from PUBLIC 49: TRAUMA
Tuesday, June 24, 2014 - 3:30pm

Associate Professors Paula Gardner and Charles Reeve are celebrating the launch of PUBLIC 49: TRAUMA, the latest issue of the interdisciplinary, double blind peer-reviewed visual arts journal. As co-editors, Gardner and Reeve curated the publication, which includes works by Francis Frascina, Lynn Crosbie, Florence Duchemin-Pelletier, Lloyd C. McCracken, Deanna Browne, Blake Fitzpatrick and Vid Ingelevics, and Ian Balfour.

Abstract:
When culture responds to trauma, it seems self-evident that three mechanisms are involved: the event, the trauma it provokes, and the cultural response. But what if that is backwards? What if trauma is itself a cultural production, borne of a need for societies to see themselves as traumatized? By bringing together essays, artistic interventions, and poetry, this collection examines trauma’s relation to culture in a variety of settings, from contemporary visual culture, to the art of the Inuit, to personal remembrances. Along the way, our contributors inspect the place of catharsis in the constellation of event, disturbance, repression, and release. To highlight the complexity of these mechanisms, we are especially pleased that “Trauma” includes “For You, The War is Over,” a previously-unpublished recollection by Canadian Airman Lloyd McCracken of his time in a Nazi POW camp, presented here with the generous permission of his family.

Preview and purchase PUBLIC 29: TRAUMA online