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FOTOGRAFIE, SPUR UND TRAUMA von Margaret Iversen **neuwertig**-
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eBay-Artikelnr.:186404422387
Artikelmerkmale
- Artikelzustand
- Neuwertig
- Hinweise des Verkäufers
- ISBN-10
- 022637016X
- Book Title
- Photography, Trace, and Trauma
- ISBN
- 9780226370163
- Publication Year
- 2017
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Publication Name
- Photography, Trace, and Trauma
- Item Height
- 0.1in
- Item Length
- 1in
- Publisher
- University of Chicago Press
- Item Width
- 0.7in
- Item Weight
- 17.1 Oz
- Number of Pages
- 184 Pages
Über dieses Produkt
Product Information
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 photography--which 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.
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
022637016x
ISBN-13
9780226370163
eBay Product ID (ePID)
8038266852
Product Key Features
Publication Name
Photography, Trace, and Trauma
Format
Trade Paperback
Language
English
Publication Year
2017
Type
Textbook
Number of Pages
184 Pages
Dimensions
Item Length
1in
Item Height
0.1in
Item Width
0.7in
Item Weight
17.1 Oz
Additional Product Features
Lc Classification Number
Tr183.I947 2017
Reviews
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., "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.", 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. Producing insightful readings of the works of both well- and lesser-known artists, she argues that even where the aesthetic is most intimately technologically framed, an authentic model of experience can be salvaged from current cultural conditions., 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., 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., 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., 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., 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.
Table of Content
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
Copyright Date
2017
Target Audience
Scholarly & Professional
Topic
Criticism & Theory, General, Criticism
Lccn
2016-034779
Dewey Decimal
770
Dewey Edition
23
Illustrated
Yes
Genre
Photography, Art
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