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Bringing together 17 works from private and public collections across the globe, this will be the first museum exhibition of Saville?s work ever to be held in Scotland, and only her third in the UK. The selection spans 26 years, from iconic early paintings such as Propped (1992) and Trace (1993-4), to recent charcoal and pastel drawings, demonstrating how Saville?s approach to depicting the human body has shifted over the course of her career. Other highlights will include a series of large-scale head paintings, such as Rosetta II (2005-6), made while the artist was based in Italy, and the premier of a major new work, Aleppo (2017-18), which is at the Scottish National Gallery alongside historic works from the collection.00Exhibition: Scottish National Gallery of Art, Edinburgh, UK (24.03.-16.09.2018).
Interview by Max Dax.
Lying Bodies explores how to survive with invisible, non-normative identities by focusing on literally 'invisible' differences. The first half of the book attempts a theoretical account of the self in the field of vision, drawing on psychoanalytic theories of the formation of the self. In order for the survival of the self with a visual image that both enables and threatens it, the book proposes the strategy of 'the lying body', which combines mimicry with equivocality. The second half of the book demonstrates possible forms of 'the lying body' through an analysis of specific examples of cultural practices, including works by artists Cindy Sherman and Morimura Yasumasa, as well as the claim of invisible sexual differences by feminine-looking lesbians.
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, April 5-July 4, 2011.
Twentieth-century American society wittily and ironically portrayed by a great artist. Norman Rockwell (1894-1978), one of the most popular American artists of the past century, has often been regarded as a simple illustrator and had his work identified with the covers of the Saturday Evening Post. He is, instead, a total artist. An acute observer of human nature and talented storyteller, Rockwell captured America's evolving society in small details and nuances, portraying scenes of the everyday life of ordinary people and presenting a personal and often idealized interpretation of the American identity. His images offered a reassuring visual haven in a period of epoch-making transformation ...
Can contemporary art say anything about spirituality? Answering this question and more, On the Strange Place of Religion in Contemporary Art explores the curious disconnection between spirituality and current art.
Controversial questions about beauty in artistic depictions of the Holocaust
This book provides an in-depth account of the protests that shook France in 1968 and which served as a catalyst to a radical reconsideration of artistic practice that has shaped both art and museum exhibitions up to the present. Rebecca DeRoo examines how issues of historical and personal memory, the separation of public and private domains, and the ordinary objects of everyday life emerged as central concerns for museums and for artists, as both struggled to respond to the protests. She argues that the responses of the museums were only partially faithful to the aims of the activist movements. Museums, in fact, often misunderstood and misrepresented the work of artists that was exhibited as a means of addressing these concerns. Analyzing how museums and critics did and did not address the aims of the protests, DeRoo highlights the issues relevant to the politics of the public display of art that have been central to artistic representation, in France as well as in North America.
The compulsion to dwell on historyÑon how it is recorded, stored, saved, forgotten, narrated, lost, remembered, and made publicÑhas been at the heart of artistsÕ engagement with the photographic medium since the late 1960s. Uncertain Histories considers some of that work, ranging from installations that incorporate vast numbers of personal and vernacular photographs by Christian Boltanski, Dinh Q. L�, and Gerhard Richter to confrontations with absence in the work of Joel Sternfeld and Ken Gonzales-Day. Projects such as these revolve around a photographic paradox that hinges equally on knowing and not knowing, on definitive proof coupled with uncertainty, on abundance of imagery being me...
A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass media This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate o...