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by Tila L. Kellman

Download Figuring Redemption: Resighting My Self in the Art of Michael Snow fb2, epub

ISBN: 0889203997
Author: Tila L. Kellman
Language: English
Publisher: Wilfrid Laurier University Press (October 29, 2002)
Pages: 221
Category: History & Criticism
Subcategory: Art
Rating: 4.2
Votes: 297
Size Fb2: 1850 kb
Size ePub: 1359 kb
Size Djvu: 1843 kb
Other formats: mobi lrf txt rtf


Figuring Redemption book.

Figuring Redemption book. Details (if other): Cancel. Thanks for telling us about the problem. Figuring Redemption: Resighting My Self in the Art of Michael Snow.

Kellman, Tila Landon, 1943-. Snow, Michael, 1929-. Books for People with Print Disabilities.

Tila L. Kellman, Michael Snow. Wilfrid Laurier Univ. Michael Snow’s work is often described as self-referential, meaning that it talks about the relationships between its materials and images, largely ignoring relationships beyond the frame. Press, 29‏/10‏/2002 - 207 من الصفحات. However, since the work also encompasses the way in which the interior relationship of the work intersects with sight and how they, together, create the frame, the work also must include the people looking at it. This book explores how the visual art practice of Michael Snow asks the question Who? of the viewers as they interpret what lies before them.

Figuring redemption : (Kellman Tila Landon). Bibliographical information (record 137869). Figuring redemption : Subtitle: resighting my self in the art of Michael Snow /. Author

Figuring redemption : (Kellman Tila Landon). Publisher: Wilfrid Laurier University Press

Resighting My Self in the Art of Michael Snow. There's no description for this book yet.

Resighting My Self in the Art of Michael Snow. Published November 2002 by Wilfrid Laurier University Press.

Figuring Redemption: Resighting My Self in the Art of Michael Snow. Much criticism of Snow objectively analyzes the material interrelationships in his work, ignoring viewer participation, and implicitly giving the artist control of the view. However, what if the who is addressed from the perspective of the viewer, who is looking across a gap created by concrete representation, time, place, experience and, perhaps, gender?

Published by: Wilfrid Laurier University Press. Michael Snow& work is often described as self-referential, meaning that it & about the relationships between its materials and images, largely ignoring relationships beyond the &.amp; However, since the work also encompasses the way in which the interior relationship of the work intersects with sight and how they, together, create the frame, the work also must. include the people looking at it.

Can visual art help redeem one's sense of self, damaged by technological society? Michael Snow's work is often described as self-referential, meaning that it "talks" about the relationships between its materials and images, largely ignoring relationships beyond the "frame.

Can visual art help redeem one’s sense of self, damaged by technological society?

Michael Snow’s work is often described as self-referential, meaning that it “talks” about the relationships between its materials and images, largely ignoring relationships beyond the “frame.” However, since the work also encompasses the way in which the interior relationship of the work intersects with sight and how they, together, create the frame, the work also must include the people looking at it.

This book explores how the visual art practice of Michael Snow asks the question Who? of the viewers as they interpret what lies before them. Much criticism of Snow objectively analyzes the material interrelationships in his work, ignoring viewer participation, and implicitly giving the artist control of the view. However, what if the “who” is addressed from the perspective of the viewer, who is looking across a gap created by concrete representation, time, place, experience and, perhaps, gender? How then can it remain objective?

Following on writers such as Martin Heidegger, Walter Benjamin, Paul Ricoeur, Jacques Derrida and Mikkel Borch-Jacobsen, Figuring Redemption questions the proposal that the contemporary sense of self is “fallen” as a result of modern technology, but can be redeemed in some part by certain kinds of visual art.

Original in its positioning of interpretive and critical writing on the side of an embodied viewer, this book rejuvenates Snow criticism by going beyond discussions of materials and operation or of loss and distancing due to mediation. By alternating personal performance writing with objective analysis, the text participates in the destabilizing process of questioning self-recognition that Snow’s practice initiates.

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