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Although the idea of excess has often been used to degrade, many of the essays in this collection demonstrate how it has also been used as a strategy for self-fashioning and empowerment, particularly by women and queer subjects. This volume examines a range of material - including ceramics, paintings, caricatures, interior design and theatrical performances - in various global contexts. Each case study sheds new light on how excess has been perceived and constructed, revealing how beliefs about excess have changed over time.
Inhaltsverzeichnis
Contents: Introduction: the uses of excess, Julia Skelly; All that glitters: diamonds and constructions of nabobery in British portraits, 1600-1800, Romita Ray; ’Every other place it could be placed with advantage’: ladies-in-waiting at the British court and the ’excessive’ display of ceramics as art objects, 1689-1740, Eric Weichel; Consuming excess: pronk poppenhuisen and the dollhouses of Sara Rothé, Michelle Moseley-Christian; Exotic, fetish, virtual: visual excess in Victorian painting, Julie Codell; Excess on the walls: Victorian exhibition culture and anxieties of art and commerce, Anne Helmreich; The paradox of excess: Oscar Wilde, caricature, and consumption, Julia Skelly; Toronto’s Casa Loma: from nostalgia to glamour and back again, Alla Myzelev; Homosexuality/modernism/nationalism: between excess and exile in 1920s Europe, John Potvin; Excesses of the bawdy body: John Wentworth Russell and his modern girls, 1927-1935, Karen Stanworth; For the love of God: excess, ambivalence, and Damien Hirst’s diamond skull, Jeremy Biles; ’Your asshole is hanging outside of your body?’: excess, AIDS, and shame in the theatre of Sky Gilbert, Dirk Gindt; Index.
Über den Autor / die Autorin
Julia Skelly is an Affiliate Assistant Professor in the Department of Art History at Concordia University, Montreal, Canada, and author of Addiction and British Visual Culture, 1751-1919 - Wasted Looks (Ashgate, 2014).
