Re•Storying Autism: An Interview with Patty Douglas and Carla Rice

Authors: David Denborough, Patty Douglas, & Carla Rice

The Re•Storying Autism project is a Canadian–British collaboration that seeks to interrupt dominant and limiting narratives of autism through an alternative storytelling process. Short films made by people who identify as autistic or who have attracted a label of autism tell preferred stories that shift understandings, expand representations and create space for practices of difference. Carla Rice and Patty Douglas, two of the project leaders, caught up with David Denborough to reflect on the principles and practices embraced by the Re•Storying Autism project, and to consider the project’s potential for contributing to a framework that may be useful to narrative practitioners.

Denborough, D., Douglas, P., & Rice, C. (2021). Re•Storying Autism: An interview with Patty Douglas and Carla Rice. International Journal of Narrative Therapy and Community Work. https://dulwichcentre.com.au/product/restorying-autism-an-interview-with-patty-douglas-and-carla-rice/

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Stitching Language: Sounding Voice in the Art Practice of Vanessa Dion Fletcher

Author: Stephanie Springgay

This paper engages with the artistic practice and work of Vanessa Dion Fletcher (Potawatomi and Lenapé) from my perspective as a non-Indigenous academic and curator. Dion Fletcher and I have worked together over the past several years through discussions about her work, studio visits, and various events. In her art practice, Dion Fletcher uses porcupine quills and menstrual blood to inquire into a range of issues and concepts including Indigenous language revitalization, feminist Indigenous corporeality, Land as pedagogy, decolonization, and neurodiversity. In particular her work confronts the ways that Indigeneity, the queer and gendered body, and disability are rendered expendable. In this paper I engage with Dylan Robinson’s “sovereign sense”: a transcorporeal mode of perception that is affective, land-based, and formed through relations between human and non-humans. Dion Fletcher’s work makes palpable this sense of sovereignty through its unruly and mutating feltness. Further, her work makes visible feminist Indigenous artistic acts of resurgence alongside the frictions at the intersections of settler colonialism and disability. Following Karyn Recollet, I contend that Dion Fletcher’s work activates an Indigenous affective experience of futurity and creative intimacy that in turn imagines disability and Indigeneity as sites through which new pedagogical relations can be formed.

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Beyond Measure? Disability Art, Affect and Reimagining Visitor Experience

Authors: Christine Kelly, Michael Orsini

Disability, mad and d/Deaf arts are motivated to transform the arts sector and beyond in ways that foreground differing embodiments. But how do we know if such arts-based interventions are actually disrupting conventional ways of experiencing and consuming art? This article presents three themes from a critical literature review relevant to curating and creating artwork meant to spur social change related to non-normative bodies. We highlight examples that push beyond standard survey measurement techniques, such as talk-back walls and guided tours by people with lived experiences. We also explore the myriad affective outcomes of art and how we might measure emotional reactions, recognizing that disability itself is imbricated in structures of feeling. We argue that such efforts must integrate concepts of access from the field of critical disability studies. Ultimately, tools for measuring audience response to politicized art must contribute to challenging and transforming these structures.

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Representing Disability, D/deaf, and Mad Artists and Art in Journalism: Identifying Ableist Fault Lines and Promising Crip Practices of Representation

Authors: Chelsea Jones, Nadine Changfoot, Kirsty Johnston

This paper revisits the dynamic discussion about journalism’s role in representing and amplifying disability arts at the 2019 Cripping the Arts Symposium. Chronicling the dialogue of the “Representation” panel which included artists, arts and culture critics, journalists, and scholars, it reveals how arts and culture coverage contributes to the cultivation of disability, D/deaf, and mad art. Given that the relationship between journalism and disability communities continues to be fractured in Canada, speakers were invited to reflect on journalism and disability arts in relation to their own engagement with media as subjects, authors, and critics of disability arts reviews. The methods for presentation were cripped in multiple ways to provide the fullest access possible. The panel concluded with examples of ableist fault lines in representation practices where the disabled figure is an absent “ghost” in journalistic representation, warnings against journalistic reliance on traditional and objective narratives, and a call for artists to claim and write their own stories. Ultimately, disabled, D/deaf, and mad artists need both control over artistic endeavours and output and influence over representation. This article reconnects journalism and disability communities, ultimately demonstrating that representation is a critical, co-constitutive process that can become more aesthetically and politically oriented toward social justice in its focus on disability, D/deaf, and mad arts.

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Blind visuality in Bruce Horak’s “Through a Tired Eye”

Author: Mary Bunch

This article proposes the concept of blind visuality as a response to the injunction to look differently at both visual images, and vision itself, posed by Bruce Horak’s exhibition Through a Tired Eye. The brightly colored impressionistic paintings suggest an artist who revels in the domain of the visual, yet he describes his practice as a representation of blindness. This accessible exposition of blind visuality speaks to the broad question of what critical disability arts contribute to discourses about vision, visuality and spectatorship in the arts. I analyze Horak’s paintings as examples of blind epistemology and haptic visuality, showing that this work evokes a way of seeing that blurs the boundaries between vision and embodied feeling. I argue that by expanding understandings of vision and multi-sensory knowledge, deconstructing the separation between vision and haptic perception, and challenging western ocularcentricism, blind visuality poses an alternative economy of looking that reflects disability aesthetics, shifts from individualism to relationality, and challenges understandings of perception/knowledge as a form of mastery.

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