Date of Award
Master of Arts (MA)
This research explores how contemporary artists Cannupa Hanska Luger’s Future Ancestral Technologies series (2019-ongoing) and Ken Gonzales-Day’s Erased Lynchings series (2002-ongoing) respond to the intersection of temporality and power. Luger and Gonzales-Day’s visual and temporal strategies question and effectively subvert dominant visualizations of the past, present, and future. This paper outlines the development of the Western structuring of time as a linear, progress-oriented scale with a particular focus on how time has and does serve as a weapon of control to exert and perpetuate various social hierarchies and biopower. Erased Lynchings addresses the history and ongoing legacy of lynching and racialized violence in the United States. Future Ancestral Technologies is a work of Indigenous futurism that radically reimagines the future and centers Indigeneity. The series share similar inquiries and facilitate experiences for viewers to address issues of time connected to social justice, memory, and identity. Using theories of visuality addresses how visualizations of power are manifested. This research argues that both artists use a macroscopic temporal perspective to engage with temporality. In doing so, their resistance and worldmaking embody and create plural temporalities that inherently de-visualize and deconstruct authority’s claim to the right to control.
Filsinger, Holly, "Art, Time, & Power: Temporal Resistance and Autonomy in the Artwork of Cannupa Hanska Luger and Ken Gonzales-Day" (2023). Theses and Dissertations. 1666.