Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
21,827
result(s) for
"Memory in art"
Sort by:
Memory of place takes flight
Sets out how the artist's exhibition came about as a response to the Christchurch earthquakes of 2010 and 2011, explaining how she treats white as a colour of conceptual significance to show what happens when memory and certainty of place no longer exist. Features illustrations of a single image replicated in variations of whites and monotonal hues in an exploration of the optical and the physical world. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
Journal Article
The Jewish secOnd generation art & family Museum Amsterdam
The
J
ewish sec
O
nd generation art & family
M
useum
A
msterdam (JOMA) opened in 2022. It combines the artwork of Maarten van der Heijden with the stories of his Jewish family. This article presents the various stages of van der Heijden's work and elucidates his practice as a second-generation artist, drawing on the notions of postmemory and sublimation. The article concludes by discussing the JOMA as a highly personal as well as a collective memory project and its role in human rights education.
Journal Article
Vision and ruins : cultural memory and the untimely Middle Ages
Visions and ruins' explores the production of cultural memory in the Middle Ages and the uses the medieval past has been put to in modernity. Working with texts in Old English, Middle English and Latin, as well as visual and material culture, it traces connections in time, place, language and media to explore the temporal complexities of cultural production and subject formation. The book interrogates critical, poetic, artistic and political archives to reveal exchanges of cultural energy and influence between past and present, offering new ways of knowing the medieval past and the contemporary moment.
Book
Slavery in Art and Literature
Long description: Slavery, both in its historical and modern forms, continues to be a matter of undiminished political and social relevance. This is mirrored by an increasing interest in scholarly research as well as by critical statements from within the field of contemporary art. The present volume is designed to bring together artists and scholars from various fields of study discussing trauma and visuality, or more precisely, memory and denial of traumatic history within visual discourses. The purpose of this project is to put the phenomenon of contemporary art production dealing with the issue of slavery into a wider, interdisciplinary and transcultural context. The book covers current case studies focusing on different media and including visual, literary and performative approaches of dealing with the history of slavery in West-African, American and European cultures.
Biographical note: Birgit Haehnel (Ph.D., University of Trier, 2004) lives as an independent scholar of art history in Vienna. She is the author of Regelwerk und Umgestaltung. Der Nomadismusdiskurs in der Kunst nach 1945 (2007). She has published extensively on contemporary art and on art of the 17th, 19th and 20th centuries with a special focus on gender and post-colonialism.
Melanie Ulz (Ph.D., University of Trier, 2005) is an art historian and lives in Berlin. She is the author of Auf dem Schlachtfeld des Empire. Männlichkeitskonzepte in der Bildproduktion zu Napoleons Ägyptenfeldzug (Marburg, 2008). She has published on art and visual culture of the 18th, 19th and 20th centuries with a focus on gender and postcolonial theory.
eBook
Memory, metaphor, and Aby Warburg's Atlas of images
\"The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that \"pathos formulas\" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.\"--Publisher's Web site.
Book
Religious Narratives in Contemporary Culture
Religious Narratives in Contemporary Culture: Between Cultural Memory and Transmediality analyzes the presence and function of traces of religious narratives in contemporary western culture, from the perspective of cultural memory studies and the transmedial study of narrative and art.
eBook
Chasing Shadows
Drawing on the influential concept of postmemory first mooted by Marianne Hirsch, and on the links between photography and mortality first explored by Susan Sontag and Roland Barthes, this article analyses the work of ten largely UK-based visual artists who, as members of the so-called second generation (namely, the descendants of Holocaust survivors and refugees), make use of the photographic medium to engage creatively and conceptually – and often in a conspicuously gendered way – with the legacy of their families’ traumatic histories. Some of the artists (Halter, Tucker) base their handcrafted imagery directly on pre-war family photographs; others (Winckler, Brunstein, Petzal, Gorney, Kerr, Davidmann) incorporate actual photographs, past and present, into mixed media artworks, frequently manipulating and even doing violence to them. Others again (Garbasz) use photographs taken in the present to reach out to an inaccessible past, while yet others (Markiewicz) employ a more abstract and allusive approach to the medium.
Journal Article