1 See Baum and Whitaker (2007).
2 One way of defining satyagraha would be “spiritual warfare.” See Du Toit (1996). For a critique of Gandhi’s relationship to caste see Roy (2017).
3 See interview with Aggarwal (2014).
4 Sharma’s catalogue essay offers the following context: “In 2009 the year she published this series of prints [i.e. her “Braveheart” triptych], little had she known of the events of December 2012 in Delhi. A young woman was raped and then mutilated by a gang of inebriated men on a bus. She was later abandoned and despite all efforts succumbed to her energies [wounds]. Under Indian laws the identity of a rape victim cannot be revealed, she was christened by the media as Delhi’s brave-heart or ‘Nirbhaya.’
“Rapes that had often gone unreported now ushered by certain awareness and softening of an uncaring police and judicial system began to be uncovered across India. The ‘Delhi Rape’ did not deter others but led to a series of similar incidents across India [and] even Bombay. Tough ‘anti-rape’ laws are being enacted but again not safeguarding other forms of rape that both women and men suffer within their own homes” (8-9).
5 Nagree (2014).
6 See “Poland’s Independence March Turns Violent” (BBC).
7 See Kruse (2019).
8 See dos Santos et al. (2020).
9 See Seo and Addis (2000).
10 Satō 104.
11 Fukuyama 3.
12 “Shōzō Satō: Still Building Bridges.” The News-Gazette, 10/16/14, https://www.news-gazette.com/news/shozo-sato-still-building-bridges/article_77626ae4-6548-558e-bf21-25b22958b18e.html
13 “Way of the Sensei.” UI Alumni Magazine https://www.news-gazette.com/news/shozo-sato-still-building-bridges/article_77626ae4-6548-558e-bf21-25b22958b18e.html
14 Sato ix.
15 Roy and Roberts 13.
16 Matter 87.
17 The historiographical work of Lisa Lowe offers one frameworks for rethinking the presumed opposition between these terms that is relevant to the circulation and display of objects in museum settings. The work of specifying “‘the intimacies of four continents’ is one of examining the dynamic relationship among the always present but differently manifest and available histories and social forces. It includes, on the one hand, identifying the residual processes of settler colonialism that appropriated lands from indigenous people, and the colonial logics through which men and women from Africa and Asia were forcibly transported to the Americas, who with native, mixed, and creole peoples constituted colonial societies that produced the assets for the bourgeois republics in Europe and North America out of which intimacy, as liberal possessive individualism, became the hallmark. […] Philosophy elaborates this [mythic, intimate] subject with interiority, who apprehends and judges the field of people, land and things as the definition of human being. Ultimately, I would wish to frame this sense of intimacy as a particular fiction that depends on the ‘intimacies of four continent,’ in other words, the circuits, connections, associations, and mixings of differently laboring peoples, eclipsed by the operations that universalize the Anglo-American liberal individual” (20-21).
18 Lawal 133.
19 Anand Pandian usefully differentiates critique from criticism: “Critique is an art or practice of prising open the fixity of what is present and keeping it open. […] Criticism is typically thought of as a matter of denouncing what is wrong or unjust, with the idea in mind of a specific alternative, with a notion already of what is right. […] To take up critique as a means of tending an open horizon, though, is to proceed in an affirmative rather than negative manner: to work within the space of what would seem to be given as a problem in the world, and to seek out, even here, ‘a field of possible openings, indecisions, reversals, and possible dislocations’” (118-119).
20 See the MoMA Learning online entry for Les Demoiselles d’Avignon, https://www.moma.org/learn/moma_learning/pablo-picasso-les-demoiselles-davignon-paris-june-july-1907/
21 Boris Groys describes a trajectory in which “the historical avant-garde has opened up the potentially infinite horizontal field of all possible real and virtual forms endowed with equal aesthetic rights. One after another, so-called primitive imagery, abstract images and simple objects from everyday life have all acquired the kind of recognition that once used to be granted only to certain privileged images and objects” (141).
22 See Clark pp. 225-297.
23 Any broad inquiry into the category of “art” will also mean attending to a heterogeneity of terms and concepts within the African continent itself: “‘Something made by hand’ (alonuzo) is how the Son of Benin designate art. The nearby Ewe of Togo use a similar term, adanu (meaning ‘accomplishment, skill, and value’) to refer at once to art, handwriting techniques, and ornamentation. For the Banana of Mali, the word for sculpture is translated as ‘things to look at’” (Visona 22).
24 Clifford pp. 196-7.
25 Adepegba’s writing, which is undated, has been preserved in the Stanley Museum’s Embark record for the work.
26 A Yoruban praise-poem included in de Brito’s anthology describes him in the following terms:
[H]e conceals himself on someone else’s foot.
If he does not eat he will not allow anyone else to swallow.
We do not have wealth without putting aside a share for Èsù.
We do not have happiness without putting aside a share for Èsù.
He acts for the right, he acts for the left, feeling no shame.
Èsù, one who prepares pepper for someone else’s child.
He uses stones for salt.
Demon of heaven, powerful one around the town.
Fearsome one, who scatters but does not gather.
Èsù, do not harm me: harm the child of another (99).
27 This work was included in the inaugural exhibition of highlights from the Sackner collection, which can be viewed here: https://www.thinglink.com/mediacard/1385308272273129474
28 Isaacs 15.
29 “Agree not merely to the right to difference but, carrying this further, agree also to the right to opacity that is not enclosure within an impenetrable autarchy but subsistence within an irreducible singularity. Opacities can coexist and converge, weaving fabrics” (Glissant 190).
30 de Zegher 131.
31 “At some point, I began tying the audience with threads, or tying myself to the audience. // Who is performing: the poet, or the audience? // United by a thread, we form a living quipu: each person is a knot, and the performance is/ what happens between the knots” (Vicuña, 99).
32 Vicuña 153-154.
33 See Kornbluh (2003) and Kinzer (2006).
34 See Saunders (2013).
35 See Bennett (2015).
36 https://www.wielgus.com/casting-mold-services/
37 “Collector’s Primitive” (1960).
38 Winnicott 137-8.
39 Images of Wielgus’ decorated firearms are available to view online through the Art Institute of Chicago: https://www.artic.edu/collection?artist_ids=Raymond%20J.%20Wielgus
40 See Hlebinsky (2014).
42 See Nixon (1970).
43 See Viagas (2016). Also, Mignon Nixon’s “Crazy”: “The baby king (a usually masculine despot) licenses a departure from reality and, in particular, a denial of our own badness. To put this another way, the mania of a mad president relieves us of the responsibility to mourn. For [Hanna] Segal, the failure to mourn the effects of our own destructiveness is a defining feature of modern American politics. In her writings on ‘nuclear mentality culture,’ Segal observes that all groups resist assuming collective responsibility for war, but the history of the United States from Hiroshima to the Cold War to Vietnam to the First Gulf War to the wars in Afghanistan and Iraq is one of manic disavowal. The psychic legacy of the denial of guilt is, in psychoanalytic parlance, a pathological mourning. It is not only that we do not face up to the death and destruction we have caused, but also that our energies are consumed in denying their significance by manically declaring our own omnipotence. Every time we begin to mourn the destruction we have authored, it is morning, or infancy, in America again” (9-10).
44 Picard, Lil, “Flag Story: A Recto of A Page 2,” https://digital.lib.uiowa.edu/islandora/object/ui%3Astanley_2012.930a1
45 Sanders (2016).
46 Marx 338.
47 Mary Ann Pettway (Gee’s Bend Quilter), Craft in America.
48 For an extended consideration on the history of “extremely false and frustrating” analogies that have been made between abstract painting and quilt making, see Peck (2018).
49 See Michner.
50 Beardsley 23-24.
51 “May Day in Gee’s Band” (Alabama Public Television).
52 “Without the 15-minute ferry service, residents of this remote southwest Alabama land have had to drive for nearly an hour to shop for milk and flour, go to school or pick up a prescription.
Nettie Young, a silver-haired 89-year-old in a black-and-white sundress, gasped as she took small, slow steps up the ferry’s steel ramp.
‘It’s beautiful,’ she whispered.
Surrounded by television news crews, she sat on a metal chair, beaming as she looked about the 100-foot ferry, which has four 113-hp diesel engines and can carry about 150 passengers and 20 cars.
Young did wonder, though, whether she would use the ferry much. Probably, she said, she would rather have a bridge” (Jarvie 2006).
53 See Pitt and Izaguirre (2020).
