Lord’s photographic poses enact a literal seizure of time that resists both the presumed past-ness of the Native American and the presumed futurity of the racially-ambiguous, mixed race woman.
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In the act of posing, Lord intervenes in a visual and historical archive that positions both Native and mixed race subjects-especially women-as particularly vulnerable subjects to the ongoing Western imperial project of assimilationist inclusion. Refiguring the pose as decolonial gesture, I argue that Lord’s poses can be understood as decolonial labor because of the ways in which they employ messy genealogies of colonial space and time in order to disrupt the linear unfolding of white settler colonial history.
The Pose as Interventionist Gesture: Erica Lord and Decolonizing the Proper Subject of Memory Colleen Kim Daniher | Northwestern UniversityĪbstract: This article investigates the decolonial politics of the pose in the photographic and installation work of mixed-race Native Alaskan artist Erica Lord.