Justine Kurland – SCUMB Manifesto
Inspired by Valerie Solanas’ iconoclastic feminist tract SCUM (Society for Cutting Up Men) Manifesto, SCUMB introduces us to photographer Justine Kurland’s own uncompromising initiative: the Society for Cutting Up Men’s Books. This volume presents a collection of collages Kurland created by cutting up and reconfiguring photobooks by male artists, as she went through the process of purging her own library of roughly 150 books by straight white men that have monopolised the photographic canon.
The nature of collage — heterogeneous, pulled apart, shape shifting, disrupted, cyborg, fantasy — has long made it a feminist strategy in life and in art. Kurland’s is a restorative and loving ritual. Each collage is a reclamation of history; a dismemberment of the patriarchy; a gender inversion of the usual terms of possession; and a modest attempt at offsetting a life of income disparity. While markedly different in style, the defiant female visions pictured in these compositions are a continuation of those depicted in Kurland’s earlier photographic projects Girl Pictures (1997–2002) and Mama Babies (2004–07). Each work in SCUMB sounds an electrifying call for freedom — the freedom to create, to destroy, to imagine, and to reshape our visual and social world.
Includes essays by Marina Chao, Renee Gladman, Catherine Lord, and Ariana Reines.
288 pages, 24.5 x 32.5cm, softcover, MACK (London).
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Justine Kurland – SCUMB Manifesto
Inspired by Valerie Solanas’ iconoclastic feminist tract SCUM (Society for Cutting Up Men) Manifesto, SCUMB introduces us to photographer Justine Kurland’s own uncompromising initiative: the Society for Cutting Up Men’s Books. This volume presents a collection of collages Kurland created by cutting up and reconfiguring photobooks by male artists, as she went through the process of purging her own library of roughly 150 books by straight white men that have monopolised the photographic canon.
The nature of collage — heterogeneous, pulled apart, shape shifting, disrupted, cyborg, fantasy — has long made it a feminist strategy in life and in art. Kurland’s is a restorative and loving ritual. Each collage is a reclamation of history; a dismemberment of the patriarchy; a gender inversion of the usual terms of possession; and a modest attempt at offsetting a life of income disparity. While markedly different in style, the defiant female visions pictured in these compositions are a continuation of those depicted in Kurland’s earlier photographic projects Girl Pictures (1997–2002) and Mama Babies (2004–07). Each work in SCUMB sounds an electrifying call for freedom — the freedom to create, to destroy, to imagine, and to reshape our visual and social world.
Includes essays by Marina Chao, Renee Gladman, Catherine Lord, and Ariana Reines.
288 pages, 24.5 x 32.5cm, softcover, MACK (London).
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Inspired by Valerie Solanas’ iconoclastic feminist tract SCUM (Society for Cutting Up Men) Manifesto, SCUMB introduces us to photographer Justine Kurland’s own uncompromising initiative: the Society for Cutting Up Men’s Books. This volume presents a collection of collages Kurland created by cutting up and reconfiguring photobooks by male artists, as she went through the process of purging her own library of roughly 150 books by straight white men that have monopolised the photographic canon.
The nature of collage — heterogeneous, pulled apart, shape shifting, disrupted, cyborg, fantasy — has long made it a feminist strategy in life and in art. Kurland’s is a restorative and loving ritual. Each collage is a reclamation of history; a dismemberment of the patriarchy; a gender inversion of the usual terms of possession; and a modest attempt at offsetting a life of income disparity. While markedly different in style, the defiant female visions pictured in these compositions are a continuation of those depicted in Kurland’s earlier photographic projects Girl Pictures (1997–2002) and Mama Babies (2004–07). Each work in SCUMB sounds an electrifying call for freedom — the freedom to create, to destroy, to imagine, and to reshape our visual and social world.
Includes essays by Marina Chao, Renee Gladman, Catherine Lord, and Ariana Reines.
288 pages, 24.5 x 32.5cm, softcover, MACK (London).
