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Photography, Trace, and Trauma

Autor Margaret Iversen
en Limba Engleză Paperback – 24 mar 2017
Photography is often associated with trauma. Here s why: the automatic nature of the process, the wide-open camera lens, and the light sensitivity of film that records contingent details unnoticed by the operator are not unlike what happens in a traumatic event, when the effects bypass consciousness and lodge deeply and irremediably in the unconscious mind and in the nervous system. Just as a traumatic event bypasses consciousness, indexical processes like photographywhich record the trace of something now absent from the viewer of the picture--bypass artistic intention and convention. In this beautifully written, succinct book, Margaret Iversen explores the particular history of the medium that emphasizes this aspect of photography. But she also considers indexical art in other media, especially sculpture that presents or simulates a trace (or index ) of a traumatic event, such as casting, rubbings, moulds, and holography/sculpting with light. (Please note that Iversen does not explore sexual trauma, but rather trauma that occurs in war, Holocaust, modernization, and the like.) Throughout, the book engages a wide range of modern and contemporary artists and their relationships to the photograph: Chantal Akerman, Anna Barriball, Christian Boltanski, Tacita Dean, Thomas Demand, Marcel Duchamp, Felix Gonzalez-Torres, Mary Kelly, Allan McCollum, Zoe Leonard, Susan Morris, Gabriel Orozco, Amalia Pica, Robert Rauschenberg, and Gerhard Richter."
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Specificații

ISBN-13: 9780226370163
ISBN-10: 022637016X
Pagini: 184
Ilustrații: 17 color plates, 29 halftones
Dimensiuni: 178 x 254 x 15 mm
Greutate: 0.52 kg
Ediția:1
Editura: University of Chicago Press
Colecția University of Chicago Press

Notă biografică

Margaret Iversen is professor emerita of art history at the University of Essex. She is the author of several books, including Beyond Pleasure: Freud, Lacan, Barthes, and coauthor of Writing Art History: Disciplinary Departures, also published by the University of Chicago Press.

Cuprins

Acknowledgments

1          Exposure
2          Indexicality: A Trauma of Signification
3          Analogue: On Zoe Leonard and Tacita Dean
4          Rubbing, Casting, Making Strange
5          Index, Diagram, Graphic Trace
6          The “Unrepresentable”
7          Invisible Traces: Postscript on Thomas Demand

Notes
Bibliography
Index

Recenzii

“Few concepts in contemporary culture have become as fraught as ‘photography,’ ‘trace,’ and ‘trauma.’ This lucid and generous study clarifies why and how. Through the work of Zoe Leonard, Gerhard Richter, Mary Kelly, Thomas Demand, and others, Iversen reflects upon the art of recent times as it spirals around matters of evidence, impression, memory, and history. What emerges is a timely response to the limits of representation and the representation of limits.”

"In this challenging analysis of the way photography can provide a trace of trauma, Iversen offers a revelatory exploration of how theory has introduced a complex method for interpreting the “messages” in imagery—imagery that is not limited to photography....Recommended."

"Original and suggestive in both theoretical approach and in the grouping of artists."

“Iversen is one of our foremost theoreticians of photography, whose pioneering work is grounded in a lucid, sophisticated engagement with philosophical, aesthetic, and psychoanalytical discourses. With Photography, Trace, and Trauma,Iversen turns her critical gaze toward the photographic trace and its psychic resonances. With trademark clarity and precision, she weaves an imaginative, rigorous route through the photographic imaginary of the late twentieth century, attending to both its analogue and digital forms. This remarkable book forces us, at a moment of profound technological change, to take the photographic seriously as both object and idea.”

“This is a judicious, sensitive, and moving account of the indexical and contingent dimensions that come into art though photography. There is much here that will be new to readers interested in art history, fine art, and cultural studies. Convincing and illuminating, Photography, Trace, and Trauma is a beautifully written book, one that is eminently accessible without sacrificing the subtlety with which these complex and momentous questions are approached.”

“Elegant and thought-provoking, Photography, Trace, and Trauma takes an approach to the photographic that is simultaneously expansive and fine-grained. Through case studies across a range of media, Iversen develops a compelling aesthetics of trauma, according to which the artwork models an openness to being marked by time and contingency.”