Craig Epplin
Biographic Data
| ID | 112160 |
|---|---|
| NAME | Craig Epplin |
| GIVEN NAMES | Craig |
| FAMILY NAME | Epplin |
| SIGNATURE | EPPLIN C |
| AFFILIATIONS | Schlumberger (Ireland) |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 1 |
Concrete Scrawls: The Wires and Words of León Ferrari
Argentinian artist León Ferrari's work has often been read as comprising two distinct orientations: an explicitly political, content-centred one on the one hand and, on the other, a formalist, apolitical one. This article contests the basis of this distinction, arguing that the distinction occludes Ferrari's primary artistic practice – that of making lines. Understanding line-making as a political act – one that leaves intact the traces of the si…
Sacrifice and Recognition in Carlos Reygadas's Japón
In his films, Carlos Reygadas eschews transparent narratives and advances no immediately clear political point of view. However, it is at the level of form that his films intervene in the political context of the Mexican and global present. This intervention becomes clear around two key concepts for the modern state form, concepts whose valence has been transformed under neoliberalism: sacrifice and recognition. Corresponding roughly to death and…
Poetry, Potlatch and the Site: Arturo Carrera's Estación Pringles
Poetry, Potlatch and the Site: Arturo Carrera's Estación Pringles
Concrete Scrawls: The Wires and Words of León Ferrari
Argentinian artist León Ferrari's work has often been read as comprising two distinct orientations: an explicitly political, content-centred one on the one hand and, on the other, a formalist, apolitical one. This article contests the basis of this distinction, arguing that the distinction occludes Ferrari's primary artistic practice – that of making lines. Understanding line-making as a political act – one that leaves intact the traces of the si…
Sacrifice and Recognition in Carlos Reygadas's Japón
In his films, Carlos Reygadas eschews transparent narratives and advances no immediately clear political point of view. However, it is at the level of form that his films intervene in the political context of the Mexican and global present. This intervention becomes clear around two key concepts for the modern state form, concepts whose valence has been transformed under neoliberalism: sacrifice and recognition. Corresponding roughly to death and…
Art (3 works) · Literature (3 works) · Aesthetics (2 works) · Humanities (2 works) · Latin American Literature Studies (2 works) · Law (2 works) · Law (2 works) · Poetry (2 works) · Political science (2 works) · Politics (2 works)