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dc.contributor.authorAziz, Miriam
dc.date2021-11-25T13:35:14.000
dc.date.accessioned2021-11-26T11:56:07Z
dc.date.available2021-11-26T11:56:07Z
dc.date.issued2016-10-02T08:13:44-07:00
dc.identifieryjlh/vol27/iss2/6
dc.identifier.contextkey9219300
dc.identifier.urihttp://hdl.handle.net/20.500.13051/7526
dc.description.abstractThis is a story about professionalism; legal narrative; what we know and what we silence; and how these core issues of testimony, memory, and human rights are captured in my work as a lawyer and as an artist.' Once upon a time, I gave up on my career in law. In fact, I gave it up twice. On the first occasion, I took a year-long sabbatical and moved to France, where I lived on a boat with a French boyfriend. On the second occasion, I was living in New York and I decided to dedicate myself exclusively to my career in the arts: I set up a performance arts laboratory called Artist (s) at Large and composed and choreographed short pieces that developed into Lost for Words, a performance art installation about communication beyond text that premiered at the Baryshnikov Arts Center (BAC) and the DiMenna Center in 2012. Yet, somehow, giving up on law never really stuck.
dc.titleLaw and Art: A Postcard from Europe
dc.source.journaltitleYale Journal of Law & the Humanities
refterms.dateFOA2021-11-26T11:56:07Z
dc.identifier.legacycoverpagehttps://digitalcommons.law.yale.edu/yjlh/vol27/iss2/6
dc.identifier.legacyfulltexthttps://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=1440&context=yjlh&unstamped=1


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