In Carnalities, Mariana Ortega presents a phenomenological study of aesthetics grounded in the work of primarily Latinx artists. She introduces the idea of carnal aesthetics informed by carnalities, creative practices shaped by the self’s affective attunement to the material, cultural, historical, communal, and spiritual. For Ortega, carnal aesthetics offers a way to think about the affective and bodily experiences of racialized selves. Drawing on Gloria Anzaldúa, Chela Sandoval, José Esteban Muñoz, Alia Al-Saji, Helen Ngo, Maurice Merleau-Ponty, Roland Barthes, and others, Ortega examines photographic works on Latinx subjects. She analyzes the photography of Laura Aguilar, Verónica Gabriela Cárdenas, and Susan Meiselas, among others, theorizing photography as a carnal, affective medium that is crucial for processes of self-formation, resistance, and mourning in Latinx life. She ends with an intimate reading of photography through a reflection of her own crossing from Nicaragua to the United States in 1979. Motivated by her experience of loss and exile, Ortega argues for the importance of carnal aesthetics in destabilizing and transforming normative, colonial, and decolonial subjects, imaginaries, and structures.
- Cover
- Contents
- Preface: Skin of Light
- Acknowledgments
- Introduction
- I. Carnal Crossings: Eye And Mouth
- One. Affected by the Eye: A Prelude to a one Carnal Aesthetics
- Two. To Be a Mouth: Anzaldúan Carnalities Two
- Three. Spilling Herself in Trees: Autoarte and three Laura Aguilar’s Queer Erotics
- II. Border Crossings: Sorrow And Memory
- Four. Sorrow, Aesthetic Unsettlement, and Sonic four Rupture in the Mexico-US Borderlands
- Five. Crossing and Feeling Brown: Verónica Gabriela five Cárdenas’s Carnal Light
- Six. Something Very Extraordinary: Incandescence six and the Wounding Photograph
- Notes
- Bibliography
- Index
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