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| margaret iversen what is a photograph: Photography, Trace, and Trauma Margaret Iversen, 2017-02-27 Photography is often associated with the psychic effects of trauma: the automatic nature of the process, wide-open camera lens, and light-sensitive film record chance details unnoticed by the photographer—similar to what happens when a traumatic event bypasses consciousness and lodges deeply in the unconscious mind. Photography, Trace, and Trauma takes a groundbreaking look at photographic art and works in other media that explore this important analogy. Examining photography and film, molds, rubbings, and more, Margaret Iversen considers how these artistic processes can be understood as presenting or simulating a residue, trace, or “index” of a traumatic event. These approaches, which involve close physical contact or the short-circuiting of artistic agency, are favored by artists who wish to convey the disorienting effect and elusive character of trauma. Informing the work of a number of contemporary artists—including Tacita Dean, Jasper Johns, Mary Kelly, Gabriel Orozco, and Gerhard Richter—the concept of the trace is shown to be vital for any account of the aesthetics of trauma; it has left an indelible mark on the history of photography and art as a whole. |
| margaret iversen what is a photograph: Touching Photographs Margaret Olin, 2012-05-21 Photography does more than simply represent the world. It acts in the world, connecting people to form relationships and shaping relationships to create communities. In this beautiful book, Margaret Olin explores photography’s ability to “touch” us through a series of essays that shed new light on photography’s role in the world. Olin investigates the publication of photographs in mass media and literature, the hanging of exhibitions, the posting of photocopied photographs of lost loved ones in public spaces, and the intense photographic activity of tourists at their destinations. She moves from intimate relationships between viewers and photographs to interactions around larger communities, analyzing how photography affects the way people handle cataclysmic events like 9/11. Along the way, she shows us James VanDerZee’s Harlem funeral portraits, dusts off Roland Barthes’s family album, takes us into Walker Evans and James Agee’s photo-text Let Us Now Praise Famous Men, and logs onto online photo albums. With over one hundred illustrations, Touching Photographs is an insightful contribution to the theory of photography, visual studies, and art history. |
| margaret iversen what is a photograph: Photography After Conceptual Art Diarmuid Costello, Margaret Iversen, 2010-11-08 Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium Selected by Choice as an Outstanding Academic Title for 2011 Appeals to people interested in artist's use of photography and in contemporary art Tracks the efflorescence of photography as one of the most important mediums for contemporary art Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case Includes a number of the essays with previously unpublished photographs Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall |
| margaret iversen what is a photograph: Photography, Trace, and Trauma Margaret Iversen, 2017-02-23 Exposure -- Indexicality: a trauma of signification -- Analogue: on Zoe Leonard and Tacita Dean -- Rubbing, casting, making strange -- Index, diagram, graphic trace -- The unrepresentable--Invisible traces: postscript on Thomas Demand |
| margaret iversen what is a photograph: Photography Theory James Elkins, 2007 'Photography Theory' presents 40 of the world's most active art historians and theorists including Victor Burgin, Joel Snyder, and Alan Trachtenberg, in an animated debate on the nature of photography. |
| margaret iversen what is a photograph: Hannah Starkey Hannah Starkey, 2011-01-17 Twenty-nine striking pictures by celebrated photographic artist Hannah Starkey have been brought together for her biggest solo show in a decade. The Mead Gallery at Warwick Arts Centre is hosting the exhibition which runs until mid March 2011. The Belfast-born artist's work is notable for its day-to-day subject matter and cinematic studio staging. Her pictures depict women in carefully composed scenarios: slumped over a Coca Cola in a seedy pub, anguished in a waiting room, drunkenly passed out on the sofa. The cinematic mode of contemporary photography comprises a diverse range of practices and Starkey's near narrative photography is one particular type that needs to be differentiated from Cindy Sherman's mimicry of film production stills or Gregory Crewdson's elaborate staging of cinematic scenarios, Margaret Iversen, co-director of a research project called Aesthetics After Photography, said. What all of these artists' work has in common, however, is the evocation of the quintessentially cinematic emotions of desire, doubt or anxiety. |
| margaret iversen what is a photograph: The Public Image Robert Hariman, John Louis Lucaites, 2016-11-07 In this book, Hariman and Lucaites provide an account of how photojournalism creates a distinctive and valuable way of understanding the modern world, plus example of how the public spectator can think about and with photographs in order to develop that understanding. Coming off the banner success of their No Caption Needed (2007), The Public Image takes that book forward with the express purpose of promoting visual literacy as a civic skill. In the end they aim to enlarge the conceptual scope of photography as a mode of experience, a medium for social thought, and a public art. Public thought needs both good writing and good photography, and this indicates the contemporary shift in talk about photography from what photographs are to a more direct concern with what photographs do. The authors take up a series of Big Issues, such as the recorded image as real and as artifice, the tangle of photography with modernity (here they touch on digitization and globalization), the manner in which the photograph operates as a medium for social thought, the photograph s intimate relationship with warfare, and they conclude with a chapter on the supersaturation of the image world (abundance is an important theme, and characteristic sign of cultural vitality). |
| margaret iversen what is a photograph: Inadvertent Images Peter Geimer, 2018-03-14 As an artistic medium, photography is uniquely subject to accidents, or disruptions, that can occur in the making of an artwork. Though rarely considered seriously, those accidents can offer fascinating insights about the nature of the medium and how it works. With Inadvertent Images, Peter Geimer explores all kinds of photographic irritation from throughout the history of the medium, as well as accidental images that occur through photo-like means, such as the image of Christ on the Shroud of Turin, brought into high resolution through photography. Geimer’s investigations complement the history of photographic images by cataloging a corresponding history of their symptoms, their precarious visibility, and the disruptions threatened by image noise. Interwoven with the familiar history of photography is a secret history of photographic artifacts, spots, and hazes that historians have typically dismissed as “spurious phenomena,” “parasites,” or “enemies of the photographer.” With such photographs, it is virtually impossible to tell where a “picture” has been disrupted—where the representation ends and the image noise begins. We must, Geimer argues, seek to keep both in sight: the technical making and the necessary unpredictability of what is made, the intentional and the accidental aspects, representation and its potential disruption. |
| margaret iversen what is a photograph: Anti-Portraiture Fiona Johnstone, Kirstie Imber, 2020-11-26 The portrait has historically been understood as an artistic representation of a human subject. Its purpose was to provide a visual or psychological likenesses or an expression of personal, familial or social identity; it was typically associated with the privileged individual subject of Western modernity. Recent scholarship in the humanities and social sciences however has responded to the complex nature of twenty-first century subjectivity and proffered fresh conceptual models and theories to analyse it. The contributors to Anti-Portraiture examine subjectivity via a range of media including sculpture, photography and installation, and make a convincing case for an expanded definition of portraiture. By offering a timely reappraisal of the terms through which this genre is approached, the chapter authors volunteer new paradigms in which to consider selfhood, embodiment and representation. In doing so they further this exciting academic debate and challenge the curatorial practices and acquisition policies of museums and galleries. |
| margaret iversen what is a photograph: Writing Art History Margaret Iversen, Stephen Melville, 2010-12 Since art history is having a major identity crisis as it struggles to adapt to contemporary global and mass media culture, this book intervenes in the struggle by laying bare the troublesome assumptions and presumptions at the field's foundations in a series of essays. |
| margaret iversen what is a photograph: The Camera Does the Rest Peter Buse, 2016-05-27 In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there’s still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops. |
| margaret iversen what is a photograph: Into the Image Kevin Robins, 2002-11 First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company. |
| margaret iversen what is a photograph: Found Sculpture and Photography from Surrealism to Contemporary Art Julia Kelly, 2017-07-05 Taking its departure point from the 1933 surrealist photographs of ?involuntary sculptures? by Brassa?nd Dal?Found Sculpture and Photography from Surrealism to Contemporary Art offers fresh perspectives on the sculptural object by relating it to both surrealist concerns with chance and the crucial role of photography in framing the everyday. This collection of essays questions the nature of sculptural practice, looking to forms of production and reproduction that blur the boundaries between things that are made and things that are found. One of the book?s central themes is the interplay of presence and absence in sculpture, as it is highlighted, disrupted, or multiplied through photography?s indexical nature. The essays examine the surrealist three-dimensional object, its relation to and transformation through photographs, as well as the enduring legacies of such concerns for the artwork?s materiality and temporality in performance and conceptual practices from the 1960s through the present. Found Sculpture and Photography sheds new light on the shifts in status of the art object, challenging the specificity of visual practices, pursuing a radical interrogation of agency in modern and contemporary practices, and exploring the boundaries between art and everyday life. |
| margaret iversen what is a photograph: Confronting Images: Questioning the Ends of a Certain History of Art , |
| margaret iversen what is a photograph: Photography Theory in Historical Perspective Hilde Van Gelder, Helen Westgeest, 2011-04-25 Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from photographic practices in contemporary art, discussed in the context of views and theories of photography from its inception. uses case studies to explain photographic practices in contemporary art and place them in the context of theory presents current debates on theory of photography through comparisons to research of other visual media applicable to vernacular and documentary photography as well as art photography |
| margaret iversen what is a photograph: Alois Riegl Margaret Iversen, 1993 An introduction to the work of Alois Riegel. |
| margaret iversen what is a photograph: Beyond Pleasure: Freud, Lacan, Barthes , |
| margaret iversen what is a photograph: The Aesthetics of Disengagement Christine Ross, 2006 Reveals the artistic subjectivity of the scientific notion of depression. |
| margaret iversen what is a photograph: Ed Ruscha: Eilshemius & Me , 2020-09-15 Ed Ruscha's Spied Upon Scene series of paintings, begun in 2017, depict majestic mountainscapes resembling the idyllic ranges of travel books, postcards, adventure movies, and the Paramount Pictures logo. These vistas, visible through oval-shaped lenses or window grids, seem to refer to the nineteenth-century tradition of the American Sublime. In fact, their lineage includes an obscure American painter from the turn of the century, Louis Michel Eilshemius (1864-1941), whose use of painted frames became an influence on Ruscha's approach. Commemorating an exhibition at Gagosian, London, this catalog is the first publication to examine the connections between these two artists' work. Two booklets in a softcover portfolio feature full-color plates and installation views. An interview with Ruscha and an essay by Margaret Iversen explain how Ruscha first encountered Eilshemius's enigmatic paintings, which of the artist's aesthetic innovations captured Ruscha's imagination, and how his own work relates to and differs from that of the Neglected Marvel Eilshemius. |
| margaret iversen what is a photograph: Camera Orientalis Ali Behdad, 2016-08-12 From the time of its invention in 1839, photography had a crucial link to the Middle East. When Daguerre s invention was introduced, it was immediately hailed as a boon to Egyptologists and Orientalists wanting to document their archeological findings. The Middle East also beckoned European experimenters in this new medium for a simple technological reason: early photographs were more quickly and easily made in the intense light of the desert than in gloomy Paris or London. In Camera Orientalis, Ali Behdad examines the cultural and political implications of the emergence of photography in the Middle East. He shows that the camera proved useful to Orientalism, but so too was Orientalism useful to photographers, because it gave them a set of conventions by which to frame these exotic cultures in images for Western audiences. Behdad breaks with standard postcolonial approaches by showing that Orientalist photography was the product of contacts between the West and the East. Indeed, local photographers participated enthusiastically in exoticist representations of the region, adapting Orientalism to the taste of the local elite. Orientalist photography, we learn, was not a one-way street but rather the product of ideas and conventions that circulated between the West and the East. |
| margaret iversen what is a photograph: Picturing Ourselves Linda Haverty Rugg, 2007-12-01 Photography has transformed the way we picture ourselves. Although photographs seem to prove our existence at a given point in time, they also demonstrate the impossibility of framing our multiple and fragmented selves. As Linda Haverty Rugg convincingly shows, photography's double take on self-image mirrors the concerns of autobiographers, who see the self as simultaneously divided (in observing/being) and unified by the autobiographical act. Rugg tracks photography's impact on the formation of self-image through the study of four literary autobiographers concerned with the transformative power of photography. Obsessed with self-image, Mark Twain and August Strindberg both attempted (unsuccessfully) to integrate photographs into their autobiographies. While Twain encouraged photographers, he was wary of fakery and kept a fierce watch on the distribution of his photographic image. Strindberg, believing that photographs had occult power, preferred to photograph himself. Because of their experiences under National Socialism, Walter Benjamin and Christa Wolf feared the dangerously objectifying power of photographs and omitted them from their autobiographical writings. Yet Benjamin used them in his photographic conception of history, which had its testing ground in his often-ignored Berliner Kindheit um 1900. And Christa Wolf's narrator in Patterns of Childhood attempts to reclaim her childhood from the Nazis by reconstructing mental images of lost family photographs. Confronted with multiple and conflicting images of themselves, all four of these writers are torn between the knowledge that texts, photographs, and indeed selves are haunted by undecidability and the desire for the returned glance of a single self. |
| margaret iversen what is a photograph: Molly Brown Kristen Iversen, 1999 Draws from letters, journals, court records, newspaper articles, family memoirs, and other authentic documentation to reconstruct the life of Margaret Tobin Brown, the Titanic survivor who inspired the musical The Unsinkable Molly Brown; discussing her early years in Hannibal, Missouri, her political work, and her family. |
| margaret iversen what is a photograph: Vivian Maier Pamela Bannos, 2017-10-10 Biography of the American photographer, and nanny, Vivian Maier (1926-2009). |
| margaret iversen what is a photograph: Documents of Doubt Heather Diack, 2020 This project explores the role of photography in conceptual art practices during the 1960's and 1970's. Focusing each chapter on the work of a single, canonical figure -- Mel Bochner, Bruce Nauman, Douglas Huebler and John Baldessari -- Diack argues that these artists expanded the possibilities of the photograph as a document of doubt, and played with the viewer's investment of truth and factuality in the medium-- |
| margaret iversen what is a photograph: A Companion to Contemporary Drawing Kelly Chorpening, Rebecca Fortnum, 2020-11-10 The first university-level textbook on the power, condition, and expanse of contemporary fine art drawing A Companion to Contemporary Drawing explores how 20th and 21st century artists have used drawing to understand and comment on the world. Presenting contributions by both theorists and practitioners, this unique textbook considers the place, space, and history of drawing and explores shifts in attitudes towards its practice over the years. Twenty-seven essays discuss how drawing emerges from the mind of the artist to question and reflect upon what they see, feel, and experience. This book discusses key themes in contemporary drawing practice, addresses the working conditions and context of artists, and considers a wide range of personal, social, and political considerations that influence artistic choices. Topics include the politics of eroticism in South American drawing, anti-capitalist drawing from Eastern Europe, drawing and conceptual art, feminist drawing, and exhibitions that have put drawing practices at the centre of contemporary art. This textbook: Demonstrates ways contemporary issues and concerns are addressed through drawing Reveals how drawing is used to make powerful social and political statements Situates works by contemporary practitioners within the context of their historical moment Explores how contemporary art practices utilize drawing as both process and finished artifact Shows how concepts of observation, representation, and audience have changed dramatically in the digital era Establishes drawing as a mode of thought Part of the acclaimed Wiley Blackwell Companions to Art History series, A Companion to Contemporary Drawing is a valuable text for students of fine art, art history, and curating, and for practitioners working within contemporary fine art practice. |
| margaret iversen what is a photograph: Theatre and Photography Joel Anderson, 2015-01-14 Examining the relationship between theatre and photography, this book shows how the two intertwine and provide vantage points for understanding each other. Joel Anderson explores the theory and practice of photographing theatre and performance, as well as theatre and photography's mutual preoccupation with posing, staging, framing, and stillness. |
| margaret iversen what is a photograph: The Lure of the Object Stephen W. Melville, Sterling and Francine Clark Art Institute, 2005 This volume examines the force of art history's attraction to particular objects and the corresponding rhythms of attachment and detachment that animate the discipline. |
| margaret iversen what is a photograph: Effects of Light on Materials in Collections Terry T. Schaeffer, 2001-08-16 The impact of light on works of art and archival materials has long been an issue of concern to conservators and other museum professionals, yet the literature on this subject has never been systematically reviewed. This volume fills that gap by providing a survey of the impact of exposure to light with an emphasis on photoflash and reprographic sources. The information provided will assist the professional audience, especially conservators and collections managers, in assessing the risk to art and archival objects of such exposures. The text surveys relevant photophysical and photochemical principles, photometric and radiometric measurement, and the spectral outputs of several light sources. Materials discussed include colorants and natural fibers; pulp, paper, and wood; natural and synthetic polymers; fluorescent whitening agents; photographic and reprographic materials; and objects containing combinations of materials. Approximations and assumptions used in the evaluation process are discussed in some detail, with examples of the different types of calculations. The Research in Conservation reference series presents the findings of research conducted by the Getty Conservation Institute and its individual and institutional research partners, as well as state-of-the-art reviews of conservation literature. Each volume covers a topic of current interest to conservators and conservation scientists. |
| margaret iversen what is a photograph: Landscape into Eco Art Mark Cheetham, 2018-02-14 Dedicated to an articulation of the earth from broadly ecological perspectives, eco art is a vibrant subset of contemporary art that addresses the widespread public concern with rapid climate change and related environmental issues. In Landscape into Eco Art, Mark Cheetham systematically examines connections and divergences between contemporary eco art, land art of the 1960s and 1970s, and the historical genre of landscape painting. Through eight thematic case studies that illuminate what eco art means in practice, reception, and history, Cheetham places the form in a longer and broader art-historical context. He considers a wide range of media—from painting, sculpture, and photography to artists’ films, video, sound work, animation, and installation—and analyzes the work of internationally prominent artists such as Olafur Eliasson, Nancy Holt, Mark Dion, and Robert Smithson. In doing so, Cheetham reveals eco art to be a dynamic extension of a long tradition of landscape depiction in the West that boldly enters into today’s debates on climate science, government policy, and our collective and individual responsibility to the planet. An ambitious intervention into eco-criticism and the environmental humanities, this volume provides original ways to understand the issues and practices of eco art in the Anthropocene. Art historians, humanities scholars, and lay readers interested in contemporary art and the environment will find Cheetham’s work valuable and invigorating. |
| margaret iversen what is a photograph: Photography Theory James Elkins, 2013-10-18 Photography Theory presents forty of the world's most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people's ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography's nature is itself misguided from the beginning. This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph? |
| margaret iversen what is a photograph: Post-partum Document Mary Kelly, 1985 This book documents an evolving work of conceptual art about the mother-child relationship begun by Mary Kelly during the 70s and exhibited in the 70s & 80s as an installation, with photographs and analyses of the material evidence of her baby's transition from infancy to the beginnings of independence. It introduced an interrogation of subjectivity by using psychoanalytic theory and focusing on the construction of material femininity. |
| margaret iversen what is a photograph: The Magic Nutcracker Margaret Hillert, 2016-07-15 A retelling of The Magic Nutcracker, a young girl rescues her nutcracker from an attack by mice. The nutcracker becomes a prince and takes her to see the Snow King and Queen, the Sugar Plum Fairy, and waltzing flowers. Beautifully re-illustrated with a fresh and appealing look, these classic Beginning-to-Read books foster independent reading and comprehension. Using high frequency words and repetition, readers gain confidence while enjoying stories about everyday life and adventures. Educator resources include reading reinforcement activities and a word list in the back. Activities focus on foundational, language and reading skills. Sections include; phonological awareness, phonics, fluency, vocabulary, and reading comprehension. Teachers' notes available on website. |
| margaret iversen what is a photograph: The Coming of Photography in India Christopher Pinney, 2008 Though photography reaches as far back as the sixteenth-century’s camera obscura projects, it wasn’t until the British colonial period that amateur photographers introduced their technology to the Indian subcontinent. By the end of the nineteenth century, however, India was at the center of a representational revolution. Was photography in India simply a void, waiting to be filled by pre-existing cultural and historical practice? Or was it disruptive, throwing up new opportunities, prophesying new social formations, and bringing anxieties about formerly secluded events and practices into a newly visible sphere? The Coming of Photography in India transcends traditional cultural and technological narratives in order to present a subtle and compelling account of the limits, possibilities, and consequences of photography. Examining technology in order to explain the dynamic incarnation of photographic practice as cure, poison, and prophecy, Christopher Pinney presents a bold account that will reward anyone with an interest in India, photography, or the history of the book. Accompanied by beautiful illustrations and a large number of previously unpublished images, this volume presents a sophisticated account of the “disturbance” that photography has brought to all of our lives. |
| margaret iversen what is a photograph: From Split to Screened Selves Rachel Gabara, 2006 This book is a study of recent autobiographies by French and Francophone African writers and filmmakers, all of whom reject simple first-person narration and experiment with narrative voice and form to represent fragmented subjectivity. Gabara investigates autobiography across media, from print to photography and film, as well as across the colonial encounter, from France to Francophone North and West Africa. Reading works by Roland Barthes, Nathalie Sarraute, Assia Djebar, Cyril Collard, David Achkar, and Raoul Peck, she argues that autobiographical film and African autobiography, subgenres that have until now been overlooked or dismissed by critics, offer new and important possibilities for self-representation in the twenty-first century. Not only do these new forms of autobiography deserve our attention, but any study of contemporary autobiography is incomplete without them. |
| margaret iversen what is a photograph: Made in God's Image? Penny Howell Jolly, 2023-12-22 The stunning mosaics that illustrate the story of Creation in the church of San Marco in Venice are the focus of Penny Howell Jolly's compelling and provocative book. Scholars of medieval art have long been interested in the Genesis mosaics because they copy a nearly destroyed fifth-century illuminated Greek manuscript known as the Cotton Genesis. But instead of seeing the mosaics as a vehicle for reconstructing a lost cycle of paintings, Jolly presents them as a social document revealing the essential misogyny that existed in thirteenth-century Venice. Jolly analyzes more than twenty scenes, one by one in narrative order, and her perceptive reading goes well beyond what the Genesis Vulgate text says about Eve and Adam. The mosaics establish Eve as the culpable character from the very moment of her Creation, says Jolly, and depict her as dangerous and unrepentant at the end. Incorporating both feminist religious and narratological studies, Jolly poses important questions on the nature of visual language as opposed to verbal language. The very ability of visual forms to recall a rich variety of references is one source of their power, and propaganda must have enough breadth of reference to be read by diverse groups. The San Marco cupola, Jolly maintains, is dealing in powerful propaganda, and her pictorial observations offer an articulate and refreshing new view of this well-known work. The stunning mosaics that illustrate the story of Creation in the church of San Marco in Venice are the focus of Penny Howell Jolly's compelling and provocative book. Scholars of medieval art have long been interested in the Genesis mosaics because they c |
| margaret iversen what is a photograph: The Original Copy Roxana Marcoci, Geoffrey Batchen, Tobia Bezzola, 2010 Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)--T.p. verso. |
| margaret iversen what is a photograph: Antony Gormley Antony Gormley, 2011 Still Standing marks the first time that a living artist has engaged with the classical galleries of the Hermitage Museum in St Petersburg. Antony Gormley placed nine ancient statues in a loose constellation directly on the ground so that these idealised and sexualised bodies shared the same conditions as the viewer. Seventeen of Gormley's solid iron blockworks were shown in a rigorous orthogonal arrangement in the Small Classical Courtyard or Antichny dvorik, one of the most famous interiors of the museum. Developed over the last two years, these works re-describe the space of the human body using the Euclidean geometry of architecture. Their abstract and severely constructed modernist volumes and rough, oxidised surfaces were contrasted against the ornate neo-classical architectural surroundings and the idealised body-forms of the previous room. In the accompanying book, Antony Gormley: Still Standing, the art historian Margaret Iversen explores the creative and intellectual context to this unique intervention, which is further developed by the artist in an interview with the exhibition curator Dimitri Ozerkov. With illustrations of all the works, as well as installation shots showing the public's interaction with the space, the book fully documents an exhibition that allowed the visitor to experience anew the predetermined context and content of a museum. In dramatically altering the viewer's normal passage through the gallery space and relationship to sculpture, the exhibition proposes that what is seen depends more on the engagement of the viewer's own imagination than on museological theory. |
| margaret iversen what is a photograph: Photography Degree Zero Geoffrey Batchen, 2009 Palinode : an introduction to Photography degree zero / Geoffrey Batchen -- Re-reading Camera lucida / Victor Burgin -- The pleasure of the phototext / Jane Gallop -- What is a photograph? / Margaret Iversen -- Touching photographs : Roland Barthes’s mistaken identification / Margaret Olin -- Buddha Barthes : what Barthes saw in photography (that he didn’t in literature) / Jay Prosser -- Notes on love and photography / Eduardo Cadava and Paola Corte ́s-Rocca -- Barthes’s Punctum / Michael Fried -- What do we want photography to be? : a response to Michael Fried / James Elkins -- Notes on the Punctum / Rosalind E. Krauss -- Camera lucida, circa 1980 / Gordon Hughes -- Black and blue : the shadows of Camera lucida / Carol Mavor -- Race and reproduction in Camera lucida / Shawn Michelle Smith -- Camera lucida: another little history of photography / Geoffrey Batchen. |
| margaret iversen what is a photograph: Room Antony Gormley, 2014 |
| margaret iversen what is a photograph: Hanne Darboven Dan Adler, 2009-04-03 Hanne Darboven's Kulturgeschichte 1880-1983 (Cultural History 1880-1983) is an overwhelming and encyclopedic installation consisting of 1,590 works on paper and 19 sculptural objects. The work weaves together cultural, social, and historical references. The panels are sequenced and grouped, with the groups then juxtaposed in arrangements that often seem little more than chance associations.--Global Books in Print. |
Margo vs. Margot — The Bump
Sep 4, 2004 · Opinion please. No name is set in stone for us, but I just came across this name and really like it. Questions is, what spelling do you prefer? TIA!
Name game keep, toss add — The Bump
Lovely names but I hope you don' t choose them because your others are so unique and awesome - Fiona, Lucy, Margaret, Eliza, Penelope, Abigail, Alice, Vivienne, Genevieve January 3T Siggy …
Boys and girls names to go with Lily. — The Bump
DD's name is Lily Margaret (margaret is OH's mums name) Names I like: Girls Cora Ava Bethany Dakota MN would be Marie. Boys Zachary Noah Kaleb MN- Thomas(OH's name) or Stephen (my …
Ultrasound - measuring 1 week behind - The Bump
TTC: #3 - first cycle TTC - 10/2014 Preg #1 - PTL @ 23.5 weeks - angel in heaven (Addison Margaret) Preg #2 - PTL @ 30.1 weeks - Kellen born @ 3 lbs. 5 oz in Jan 2010 - My Pride and Joy …
Requesting all Southern Belle names please :) - The Bump
Country names also tend to be a bit more trendy. Southern Belle, to me (from MS) is more really traditional, sometimes using mom's last name as a middle, I see that a lot. Lots of Elizabeths and …
Classic Southern names for girl? — The Bump
From my experience, they often have super traditional names (Charlotte, Margaret, Mallory, Elizabeth) with a lot of last names/maiden names as middle names. Or, formal names with cute …
My sad, pathetic name list — The Bump
Jan 25, 2013 · Margaret nn Maggie. Katherine nn Kate. Annabelle nn Anna. Charlotte nn Lottie. Evelyn nn Evie. I also like Theodore (nn Theo or Teddy), William (nn Will or Liam) and Samuel (nn …
Is Marnie a nickname? — The Bump
Jun 28, 2012 · I love it. I knew a girl in college named Marnie and it seemed very appropriate for an adult. I think of it as a regular name, not necessarily a nn.
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Middle Name for Eloise — The Bump
I need help for a middle name for Eloise. We are Team Green and right now have Kellen Robert picked for our boy name.
Margo vs. Margot — The Bump
Sep 4, 2004 · Opinion please. No name is set in stone for us, but I just came across this name and really like it. Questions is, what spelling do you prefer? TIA!
Name game keep, toss add — The Bump
Lovely names but I hope you don' t choose them because your others are so unique and awesome - Fiona, Lucy, Margaret, Eliza, Penelope, Abigail, Alice, Vivienne, Genevieve January 3T Siggy …
Boys and girls names to go with Lily. — The Bump
DD's name is Lily Margaret (margaret is OH's mums name) Names I like: Girls Cora Ava Bethany Dakota MN would be Marie. Boys Zachary Noah Kaleb MN- Thomas(OH's name) or Stephen (my …
Ultrasound - measuring 1 week behind - The Bump
TTC: #3 - first cycle TTC - 10/2014 Preg #1 - PTL @ 23.5 weeks - angel in heaven (Addison Margaret) Preg #2 - PTL @ 30.1 weeks - Kellen born @ 3 lbs. 5 oz in Jan 2010 - My Pride and Joy …
Requesting all Southern Belle names please :) - The Bump
Country names also tend to be a bit more trendy. Southern Belle, to me (from MS) is more really traditional, sometimes using mom's last name as a middle, I see that a lot. Lots of Elizabeths and …
Classic Southern names for girl? — The Bump
From my experience, they often have super traditional names (Charlotte, Margaret, Mallory, Elizabeth) with a lot of last names/maiden names as middle names. Or, formal names with cute …
My sad, pathetic name list — The Bump
Jan 25, 2013 · Margaret nn Maggie. Katherine nn Kate. Annabelle nn Anna. Charlotte nn Lottie. Evelyn nn Evie. I also like Theodore (nn Theo or Teddy), William (nn Will or Liam) and Samuel (nn …
Is Marnie a nickname? — The Bump
Jun 28, 2012 · I love it. I knew a girl in college named Marnie and it seemed very appropriate for an adult. I think of it as a regular name, not necessarily a nn.
Names that go with Cameron - The Bump
Margaret. Heather . Bridget . Married 9-4-04 ***PM me for my IF history*** Report 0 Reply. caramia582 ...
Middle Name for Eloise — The Bump
I need help for a middle name for Eloise. We are Team Green and right now have Kellen Robert picked for our boy name.
