Margaret Iversen
Datos Biográficos
| ID | 319573 |
|---|---|
| NOMBRE | Margaret Iversen |
| NOMBRES | Margaret |
| APELLIDO | Iversen |
| FIRMA | IVERSEN M |
| AFILIACIONES | University of Essex |
| VERIFICADO | No |
| TOTAL DE OBRAS | 20 |
| TOTAL DE CITAS | 10 |
| TOTAL COMO AUTOR | 20 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1979 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2021 |
| ÍNDICE H | 2 |
Steinberg’s Other Criteria
It is said that when Leo Steinberg was a student during the War at the Slade School of Art in London, he kept a copy of James Joyce’s Ulysses tucked in his pocket.1 This biographical nugget lends piquancy to the traumatic, although not uncommon, story of the twice-exiled Jewish émigré. Steinberg (né Zalman Lev) was born in Moscow in 1920, spent his youth in Berlin, and his late teens in London. Having survived the Russian Revolution, National Soc…
The Diaristic Mode in Contemporary Art after Barthes
The rise of the diaristic mode in contemporary art might seem like the return of the dead author in a particularly self‐absorbed frame of mind. Yet the diary is a form of writing that relinquishes authorial control to the passing moods and contingencies of the day. The diarist writes hastily, automatically, involuntarily, thereby giving access to insights unavailable to deliberation. An account of Roland Barthes's Mourning Diary , 2009, and his r…
The World without a Self
Desire and the Diagrammatic
Journal Article Desire and the Diagrammatic Get access Margaret Iversen Margaret Iversen Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 39, Issue 1, March 2016, Pages 1–17, https://doi.org/10.1093/oxartj/kcv030 Published: 04 March 2016
Literature Politics and Theory
Literature Politics & Theory
The Medium is the Memory
Analogue
Introduction
Auto‐maticity
Ed Ruscha's ground‐breaking 1963 book, Twentysix Gasoline Stations , consists of a series of photographs of gas stations along Route 66. Ruscha explained in an interview that he liked the word ‘gasoline’ and the random specificity of number 26. This paper argues that the title, formulated in advance, provided the nub of an instruction. Ruscha set himself a simple brief and understood the photographs as records of large‐scale readymades. Depersona…
Introduction
This special issue of Art History aims to open up a debate about what is at stake in contemporary photographic art. It forms part of a large AHRC funded research project, ‘Aesthetics after Photography’, which focuses on the challenges that recent art photography poses for aesthetic theory. A collaborative and cross-disciplinary endeavour, the research project is directed by Margaret Iversen of the Department of Art History and Theory at the Unive…
An Interview with Mark Wallinger
Let's begin with State Britain, now on show at Tate Britain.I know you have talked about it as a kind of memorial or an elegy to Brian Haw's antiwar manifestation outside the Houses of Parliament, most of which was removed by the police.In the Tate literature too-I don't know how much of a hand you had in that-it is quite clearly presented as being a work of art about protest rather than a reenactment of that protest.How do you see the politics o…
The Discourse of Perspective in the Twentieth Century
Journal Article The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan Get access Margaret Iversen Margaret Iversen Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 2, June 2005, Pages 191–202, https://doi.org/10.1093/oxartj/kci020 Published: 01 June 2005
In the Blind Field
Freud’s concept of the uncanny is used in this article to interpret Hopper’s paintings and to explain why they appear to have a double valence – at once nostalgic and threatening. The famous House by the Railroad (1925), for example, is often thought to depict a forlorn remnant of an outmoded America, yet it also served as the model for the Old Bates House in Hitchcock’s Psycho . First, several modalities of the uncanny – doubles, traumatic encou…
What is a photograph
Retrieving Warburg's Tradition
Burgin Between Politics and Art
Between by Victor Bürgin Oxford and New York: Basil Blackwell in association with The Institute for Contemporary Art, London, 1986, 190 pp., £10.95 The End of Art Theory by Victor Burgin , London: Macmillan, 1986, 221 pp., £6.95 paperback
The Primacy of Philosophy
Panofsky and the Foundations of Art History by Michael Ann Holly , Ithaca and London: Cornell University Press, 1984, 256 pp., $24.95
The Avant‐gardian Angels
October , a periodical edited by Rosalind Krauss and Annette Michelson , published quarterly by the MIT Press for the Institute for Architecture and Urban Studies
Style as Structure
Analogue
Style as Structure
Introduction
An Interview with Mark Wallinger
Let's begin with State Britain, now on show at Tate Britain.I know you have talked about it as a kind of memorial or an elegy to Brian Haw's antiwar manifestation outside the Houses of Parliament, most of which was removed by the police.In the Tate literature too-I don't know how much of a hand you had in that-it is quite clearly presented as being a work of art about protest rather than a reenactment of that protest.How do you see the politics o…
The Discourse of Perspective in the Twentieth Century
Journal Article The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan Get access Margaret Iversen Margaret Iversen Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 2, June 2005, Pages 191–202, https://doi.org/10.1093/oxartj/kci020 Published: 01 June 2005
What is a photograph
Style as Structure
The Avant‐gardian Angels
October , a periodical edited by Rosalind Krauss and Annette Michelson , published quarterly by the MIT Press for the Institute for Architecture and Urban Studies
The Primacy of Philosophy
Panofsky and the Foundations of Art History by Michael Ann Holly , Ithaca and London: Cornell University Press, 1984, 256 pp., $24.95
Burgin Between Politics and Art
Between by Victor Bürgin Oxford and New York: Basil Blackwell in association with The Institute for Contemporary Art, London, 1986, 190 pp., £10.95 The End of Art Theory by Victor Burgin , London: Macmillan, 1986, 221 pp., £6.95 paperback
Retrieving Warburg's Tradition
What is a photograph
In the Blind Field
Freud’s concept of the uncanny is used in this article to interpret Hopper’s paintings and to explain why they appear to have a double valence – at once nostalgic and threatening. The famous House by the Railroad (1925), for example, is often thought to depict a forlorn remnant of an outmoded America, yet it also served as the model for the Old Bates House in Hitchcock’s Psycho . First, several modalities of the uncanny – doubles, traumatic encou…
The Discourse of Perspective in the Twentieth Century
Journal Article The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan Get access Margaret Iversen Margaret Iversen Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 28, Issue 2, June 2005, Pages 191–202, https://doi.org/10.1093/oxartj/kci020 Published: 01 June 2005
An Interview with Mark Wallinger
Let's begin with State Britain, now on show at Tate Britain.I know you have talked about it as a kind of memorial or an elegy to Brian Haw's antiwar manifestation outside the Houses of Parliament, most of which was removed by the police.In the Tate literature too-I don't know how much of a hand you had in that-it is quite clearly presented as being a work of art about protest rather than a reenactment of that protest.How do you see the politics o…
Auto‐maticity
Ed Ruscha's ground‐breaking 1963 book, Twentysix Gasoline Stations , consists of a series of photographs of gas stations along Route 66. Ruscha explained in an interview that he liked the word ‘gasoline’ and the random specificity of number 26. This paper argues that the title, formulated in advance, provided the nub of an instruction. Ruscha set himself a simple brief and understood the photographs as records of large‐scale readymades. Depersona…
Introduction
This special issue of Art History aims to open up a debate about what is at stake in contemporary photographic art. It forms part of a large AHRC funded research project, ‘Aesthetics after Photography’, which focuses on the challenges that recent art photography poses for aesthetic theory. A collaborative and cross-disciplinary endeavour, the research project is directed by Margaret Iversen of the Department of Art History and Theory at the Unive…
Analogue
Introduction
Literature Politics and Theory
Literature Politics & Theory
The Medium is the Memory
Desire and the Diagrammatic
Journal Article Desire and the Diagrammatic Get access Margaret Iversen Margaret Iversen Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 39, Issue 1, March 2016, Pages 1–17, https://doi.org/10.1093/oxartj/kcv030 Published: 04 March 2016
The World without a Self
Steinberg’s Other Criteria
It is said that when Leo Steinberg was a student during the War at the Slade School of Art in London, he kept a copy of James Joyce’s Ulysses tucked in his pocket.1 This biographical nugget lends piquancy to the traumatic, although not uncommon, story of the twice-exiled Jewish émigré. Steinberg (né Zalman Lev) was born in Moscow in 1920, spent his youth in Berlin, and his late teens in London. Having survived the Russian Revolution, National Soc…
The Diaristic Mode in Contemporary Art after Barthes
The rise of the diaristic mode in contemporary art might seem like the return of the dead author in a particularly self‐absorbed frame of mind. Yet the diary is a form of writing that relinquishes authorial control to the passing moods and contingencies of the day. The diarist writes hastily, automatically, involuntarily, thereby giving access to insights unavailable to deliberation. An account of Roland Barthes's Mourning Diary , 2009, and his r…
Art history (17 obras) · Art (16 obras) · Computer Science (9 obras) · Visual arts (9 obras) · Art, Politics, and Modernism (8 obras) · History (8 obras) · Citation (6 obras) · Library science (6 obras) · Photography and Visual Culture (6 obras) · Visual Culture and Art Theory (5 obras)