Anne Marie Butler, assistant professor of art history and women, gender and sexuality at Kalamazoo College, co-edited a new book, Queer Contemporary Art of Southwest Asia North Africa (Intellect Press, 2024), with Sascha Crasnow, assistant professor of art history at Drake University in Des Moines, Iowa.
Part of the Critical Studies in Architecture of the Middle East series, the book presents new perspectives on queer visual culture in the Southwest Asia North Africa (SWANA) region from artists and scholars. In addition to serving as editors, Butler and Crasnow wrote one of the chapters, “Transing Contemporary Art: Aïcha Snoussi and Khaled Jarrar.”
The book is important because it stands as the first volume to consider this particular intersection of geographical location, visual arts and queer studies, Butler said—hopefully, the first of many.
“Obviously, it’s a resource for people to learn about queer visual culture in the region and at diaspora, but Sascha and I very much don’t want this book to define that field,” Butler said. “We are more interested in the book generating questions, responses and new inquiry than marking off a territory. We hope it is used to build on.”
Each of the book’s three sections—Unfixed Genders, Intersectional Sexualities, and Sites and Spaces—includes at least one of each type of chapter: scholarly essay, interview and artist contribution.
“I think it’s unique to have that many interviews, and having artists’ contributions is a little bit unique to scholarly volumes,” Butler said. “Especially since this is about contemporary art, we wanted to have those artists’ voices represented. The artists’ contributions are one of my favorite parts of this book. It’s fantastic to read artists talking about their own work in this context.’”
With her research focused on contemporary Tunisian art with an emphasis on gender, sexuality and the state, Butler has long cultivated connection with the artists she studies. Working on this volume allowed her to continue that approach while broadening her lens.
“This volume was great for me to be able to think about some of the things I read, and some of the things that my scholarship is in conversation with, in a little bit bigger way,” Butler said. “Continuing to work with the artists and the people that I’ve made connections with has been important to me. I want to continue to build and maintain those relationships. I also want to continue to ask different questions and ask questions in different ways.”
The work of building relationships served Butler well as she and Crasnow prioritized contributions to the book from people living in the SWANA region, representing diaspora and bringing different perspectives and experiences to the collection.
“We have fewer contributors living in the region than we might have liked to, which is a product of some of the tensions that this volume embodies,” Butler said. “This book comes at an unparalleled moment of queer global visibility, and with queer and trans visibility, there’s always this paradox where it’s good that people are more visible, but also it can put people in danger. There’s also, on the larger scale, cultural imperialism, problems with global flows of scholarship, extractive scholarship, misguided ideas about saving LGBTQ people from their cultures, and a homogenization of a global queerness that is the Euro-American perspective of what queerness is. Visibility comes with all of these complications that we need to be really attentive to.”
Gayatri Gopinath, a preeminent scholar on visual culture and queer studies, wrote a forward to the book that Butler believes helps to contextualize the importance of the book at this moment.
“Anne Marie Butler and Sascha Crasnow’s astute framing of the uses of a trans methodology in the study of contemporary SWANA art is a reflection on the mobility of many of the artists they study,” the forward says. “For Butler and Crasnow, to actively trans SWANA contemporary art is to foreground flux and fluidity, and movement over origin or destination, as well as to jettison rigid identity categories. … The very formations of ‘SWANA,’ ‘queerness,’ and even ‘contemporary art’ are predicated on an acknowledgement of the difference, heterogeneity, and incommensurability of the various social and aesthetic formations that fall within these capacious rubrics. Rather than flattening out difference to create a coherent, homogenous whole, the contributors to this volume attend to the particularities, divergences and incoherences within and between these categories. They suggest that it is perhaps only in the recognition of the radical difference and unknowability of the other that a truly ethical relationality can be forged.”
Although the edited scholarly volume is primarily intended for an academic audience, Butler believes that the artist interviews and contributions make parts of it accessible to anyone who is interested. She hopes people will encourage their libraries to purchase the volume, making it available to a larger audience, since they were unable to secure the funding to publish the book online with open access.
“I think it’s a really special book, and I think that a lot of times when people hear edited volume or academic collection, they think, ‘Oh, that’s not something that I would enjoy reading or looking at.’ But I think that this book has a lot to offer a lot of different people.”
Butler has taught at K since 2019. She holds a Ph.D. in global gender and sexuality studies from the University at Buffalo, an M.A. in arts politics from New York University, and a B.A. in art history and French from Scripps College.
Queer Contemporary Art of Southwest Asia North Africa is available from the publisher at intellectdiscover.com.