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(PDF) Readymade, found object, photograph | Margaret …
- https://www.academia.edu/44509516/Readymade_found_object_photograph
- The aesthetic, I intend to show, is not exhausted Margaret Iversen by the concept of beauty. 3 Yet, at the same time, I want to question the wisdom of these critics' opponents who Readymade, Found Object, reaffirm the anti-aesthetic and denigrate the Kantian tradition.4 What the strident debates pro- and anti- Photograph beauty overlook is the ...
Readymade, Found Object, Photograph: Art Journal: Vol …
- https://www.tandfonline.com/doi/abs/10.1080/00043249.2004.10791125
- The 1936 Surrealist Exhibition of Objects brought together a bewildering range of items including natural objects, interpreted natural objects, incorporated natural objects, found objects, perturbed objects, readymade objects, American objects, Oceanic objects, mathematical objects, and Surrealist objects. Of the nonethnographic types listed, only the readymade and …
(PDF) Readymade, Found Object, Photograph
- https://www.researchgate.net/publication/271568465_Readymade_Found_Object_Photograph
- Readymade, Found Object, Photograph. The 1936 Surrealist Exhibition of Objects brought together a bewildering range of. items including natural …
Profile for Margaret Iversen at the University of Essex
- https://www.essex.ac.uk/people/ivers66902/margaret-iversen
- Margaret Iversen is one of the leading international authorities in the field of art theory and contemporary art. Her first book was on one of the founders of Art History as a discipline: Alois Riegl: Art History and Theory (1993). ... Readymade, Found Object, Photograph. Art Journal. 63 (2), 44-57 ... Found Sculpture and Photography from ...
Readymade, Found Object, Photograph on JSTOR | Found …
- https://www.pinterest.com/pin/470978073526373064/
- Mar 25, 2018 - Margaret Iversen, Readymade, Found Object, Photograph, Art Journal, Vol. 63, No. 2 (Summer, 2004), pp. 44-57. Pinterest. Today. Explore. When autocomplete results are available use up and down arrows to review and enter to select. Touch device users, explore by touch or with swipe gestures. Log in. Sign up.
Margaret Iversen - Monoskop
- https://monoskop.org/Margaret_Iversen
- Margaret Iversen is Professor of Art History and Theory at the University of Essex. Publications ... "Readymade, Found Object, Photograph", Art ... Williamstown, MA: Sterling and Francine Clark Art Institute, 2005, pp 181-192. "Auto-maticity: Ruscha and performative photography", Art History 32:5, 2009, pp 836-851. "Chance and Choice in ...
Margaret Iversen | The MIT Press
- https://mitpress.mit.edu/contributors/margaret-iversen-1
- Margaret Iversen 1993. Alois Riegl (1858-1905) was one of the founders of art history as a discipline. This is the first general introduction to the work of the celebrated Austrian who brought complex philosophical considerations to bear on art and its history. Ranging easily over diverse fields and among a large group of thinkers, Margaret ...
Margaret Iversen | The MIT Press
- https://mitpress.mit.edu/contributors/margaret-iversen
- Margaret Iversen 2010. Why chance remains a key strategy in artists' investigations into the contemporary world. The chance situation or random event—whether as a strategy or as a subject of investigation—has been central to many artists' practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage ...
Photography, Trace, and Trauma: Iversen, Margaret
- https://www.amazon.com/Photography-Trace-Trauma-Margaret-Iversen/dp/022637016X
- 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.
Indifferent attitude: the readymade, the tableau
- https://mro.massey.ac.nz/bitstream/handle/10179/5339/02_whole.pdf
- Readymade, Found Object, Photograph, Margaret Iversen describes how the readymade ‘…embodies different aspects of the most influential account of what might be called the subject dimension of our relation to art – Immanuel Kant’s conception of the aesthetic’. 9. In this text, Iverson argues that the most important defining feature in
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