D-Passage is a unique book by the world-renowned filmmaker, artist, and critical theorist Trinh T. Minh-ha. Taking as grounding forces her feature film Night Passage and installation L'Autre marche (T
Lovecidal is a transformative work that cuts across genres, times and places, appealing intimately to our sense of justice and freedom with incisive provocations and evocations. It leads the reader th
Lovecidal is a transformative work that cuts across genres, times and places, appealing intimately to our sense of justice and freedom with incisive provocations and evocations. It leads the reader th
"An image is powerful not necessarily because of anything specific it offers the viewer, but because of everything it apparently also takes away from the viewer."--Trinh T. Minh-haVietnamese filmmaker
D-Passage is a unique book by the world-renowned filmmaker, artist, and critical theorist Trinh T. Minh-ha. Taking as grounding forces her feature film Night Passage and installation L'Autre marche (T
In this new collection of her provocative essays on Third World art and culture, Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the man
World-renowned filmmaker and feminist, postcolonial thinker Trinh T. Minh-ha is one of the most powerful and articulate voices in both independent filmmaking and cultural politics.Elsewhere, Within He
Endless travel in cyberspace, virtual reality, and the dream of limitless speed: technology changes our sense of self. In her new book, Trinh Minh-ha explores the way technology transforms our percept
"An image is powerful not necessarily because of anything specific it offers the viewer, but because of everything it apparently also takes away from the viewer."--Trinh T. Minh-haVietnamese filmmaker
The term “body art” often conjures rude images of radical piercings and raunchy tattoos on “modern primitives.” Here artist Jean Paul Bourdier applies his skills to a complete
The dwellings of hundreds of African ethnic groups offer a variety of conceptions and building practices that contradict the widespread image of the primitive hut commonly attributed to rural Africa.
Theresa Hak Kyung Cha came of age as an artist in the San Francisco Bay Area of the 1970s, a decade of enormous artistic, cultural, social, and political transformation. Despite her untimely and tragi
