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Installation Art and the Practices of Archivalism
On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Mirosław Bałka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for ‘archival’ media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.
Samuel Beckett and Testimony
This is the first sustained study of Samuel Beckett and testimony. It offers new readings of the problem of unspeakability in Beckett in relation to testimonial expression and the problems of knowledge which arise in recent theoretical conceptions of testimony and the archive.
Visual Culture and the Forensic
David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a rea...
The Body Abject
This is the first sustained study of the formation of identity in the fictions of Jean Genet and Samuel Beckett. In works like Beckett's prose Trilogy, or Genet's Journal du Voleur and Notre-Dame-des-Fleurs, the human is beset by social exclusion and bodily disintegration. The sense of self which arises from this predicament is bound up with the sensation of abjection, the site of both a radical oppression and a paradoxical resurgence. Genet's and Beckett's affiliation with abjection frames questions of selfhood, body and language which continue to be posed with particular urgency in contemporary writing and theory.
Paddy Hartley
This book presents the work of the artist Paddy Hartley, in particular as it is reflected in Project Facade, 1914FACES2014 and Hartley's Surgical Sculptures and Face Corsets. These projects are all concerned with the face, and with the ways in which it can be repaired, manipulated and recontextualised. Hartley's striking work incorporates surgical and pharmaceutical equipment as well as steel, scrap metal, digital embroidery and textiles in order to set out a critique of how we think about the face today. That critique is rooted in history, particularly the history of the facially injured servicement of the First World War and the pioneering treatment they underwent. Paddy Hartley: of Faces and Facades brings together this work in book form for the first time, presenting previously unpublished texts, drawings and photographs which document a remarkable creative process and a history that is still insufficiently explored. [Fonte: quarta di cop.].
The Autobiography of an Execution
A riveting, artfully written memoir of a lawyer's life as he races to prevent death row inmates from being executed. Near the beginning of The Autobiography of an Execution, David Dow lays his cards on the table. "People think that because I am against the death penalty and don't think people should be executed, that I forgive those people for what they did. Well, it isn't my place to forgive people, and if it were, I probably wouldn't. I'm a judgmental and not very forgiving guy. Just ask my wife." It this spellbinding true crime narrative, Dow takes us inside of prisons, inside the complicated minds of judges, inside execution-administration chambers, into the lives of death row inmates (some shown to be innocent, others not) and even into his own home--where the toll of working on these gnarled and difficult cases is perhaps inevitably paid. He sheds insight onto unexpected phenomena-- how even religious lawyer and justices can evince deep rooted support for putting criminals to death-- and makes palpable the suspense that clings to every word and action when human lives hang in the balance.
Samuel Beckett and Contemporary Art
This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art-he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond. The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like Minimalism and Conceptual Art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.
Installation Art and the Practices of Archivalism
On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Mirosław Bałka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for ‘archival’ media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.
Moral Responsibility in the Holocaust
In Moral Responsibility in the Holocaust, David H. Jones goes beyond historical and psychological explanations of the Holocaust to directly address the moral responsibility of individuals involved in it. While defending the view that individuals caught up in large-scale historical events like the Holocaust are still responsible for their choices, he provides the philosophical tools needed to assess the responsibility, both negative and positive, of perpetrators, accomplices, bystanders, victims, helpers, and rescuers.
Jazz, Giants, and Journeys
With a camera as his backstage pass, Herman Leonard has photographed the giants of jazz in their golden age, movie stars on set and on their travels to exotic places, the fashion world of Paris in the 1960s, and the inner sanctums of his beloved New Orle
