Joseph Pierce wants you to question everything, but especially queerness.
The Cherokee citizen and Stony Brook University assistant professor believes the moment has come for queer academia to seriously question the roots of their discipline, and ask how the field can expand to include more voices outside the Euro-American canon of Judith Butlers and Jack Halberstams.
“When we think about queerness,” Pierce explains, “it’s seen as a universal theory that can be applied everywhere. But often what that does is maintain a framework based on coloniality and white supremacy. What we want to do is question how queerness circulates.”
Accordingly, the young researcher has teamed up with scholars from across the Western hemisphere to produce a special edition of GLQ, an important journal of lesbian and gay studies published by Duke University Press. The forthcoming issue intends to address the limits of queerness outside normative white contexts, and how decolonization and the schema of radical liberation might provide new context to how LGBTQ culture operates in regions like Latin America and the Global South.
An erstwhile contributor to Hyperallergic, Pierce has also written a new book that will release this November, called Argentine Intimacies: Queer Kinship in an Age of Splendor, 1890–1910. The result of extensive archival research, the book is a study into Argentina’s turn-of-the-century crisis of modernity, and how political and economic changes in the country opened up new ways of conceptualizing family.
For a discussion about the relationship between queerness, decolonialiality, culture, and politics, we invited Pierce onto the Hyperallergic Art Movements podcast to share some insight into how he and other academics are trying to evolve queer studies into a more open field of inquiry.
The music for this episode is available under the Creative Commons 0 license.
Subscribe to Hyperallergic’s podcast, Art Movements, on iTunes or anywhere else you listen to podcasts.
This week, arts orgs and the war for talent, importance of house museums, the 125 most borrowed books in Brooklyn, the history of listicles, and more.
Lisa Ericson renders her real-world subjects beautifully, but the situations in which we find them are uncanny, menacing, and unexpected.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
Contemporary society in the United States normalizes the idea of the exhausted mother, so why wouldn’t mother nature be equally exhausted?
Tsai’s style is the opposite of boring; in demanding the viewer’s attention, he allows for incredible moments of human connection and discovery.
Over 4,000 artists have signed on to the event, with a nifty online directory listing paintings, sculptures, ceramics, and much more.
American artists were instrumental in propagating the false narrative of Thanksgiving, a deliberate erasure of violence against Indigenous peoples.
“Revolution is a daily practice — a life choice. Not a selfie at a protest,” says Onondaga artist Frank Buffalo Hyde.
Hyperallergic staff share their favorite artists, craft shops, designers, and much more.
Field of Vision’s latest free streaming offering focuses on a vulnerable population put at risk, told through the stories of those inside.