Ruth Rosengarten
Biographic Data
| ID | 5633508 |
|---|---|
| NAME | Ruth Rosengarten |
| GIVEN NAMES | Ruth |
| FAMILY NAME | Rosengarten |
| SIGNATURE | ROSENGARTEN R |
| AFFILIATIONS | Russian State Agrarian Correspondence University |
| VERIFIED | No |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 24 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
The vernacular under pressure from the digital
Re-Take of Amrita (2001–2) is a series of digital photomontages by Indian artist Vivan Sundaram, constructed using photographs from a family album authored primarily by his grandfather, Umrao Singh Sher-Gil. I explore the relation of two examples from Re-Take to its predecessor, Sundaram’s The Sher-Gil Archive (1995), as well as to its source in Umrao’s album, and in doing so, I also explore the relationship between album and archive. Sundaram’s …
Performing for the camera 18 February–12 June 2016, Tate Modern
Constructing Worlds
Barbican Art Gallery, September 25, 2014 – January 11, 2015It is broadly acknowledged that architecture and photography have historically enjoyed a happy reciprocity. Because of their inherent stil
And death I think is no parenthesis’
The past few decades have witnessed a proliferation of photographic images (often in photobooks or online) focusing on the aged and the terminally ill. These works cut across different photographic practices, bringing together the documentary, the vernacular and the art photograph. Rather than individual ‘decisive moment’ shots, such works almost always occur in sequences or series, tracking a process whose telos is inevitably death. Following Ro…
Home Truths
An Impossible Love
Paula Rego's work is frequently considered in terms of a feminist subversion of the tenets of patriarchy. Here, I analyse a group of seven panels made in pastel, in order to throw light on the relationship between obedience and resistance in the formation of female subjects in Rego's work, exploring the interpellative underpinnings that shape and constrain them. Examined in relation both to the imagery of hysteria deployed by nineteenth‐century F…
History as the Main Complaint
This essay considers the relation of history to memory in the process of radical political change. Looking at the work of William Kentridge in the context of South Africa's Truth and Reconciliation Commission, it argues the ways that the language of nation‐building fails to account for the experience of trauma as it resists absorption into the structures of historical time and the ‘talking cure’. In particular, it considers how Kentridge's unique…
Vieira, Jorge
Castro, (Maria de) Lourdes
Azevedo, Fernando de
Eloy, Mário
Pedro, António
Lanhas, Fernando
Costa Pinheiro
Pomar, Júlio
Botelho, Carlos
Amadeo
Santa-Rita
Dacosta, António
Rodrigo, Joaquim
Menez
Cruzeiro Seixas
Bertholo, René
Viana [Vianna], Eduardo
History as the Main Complaint
This essay considers the relation of history to memory in the process of radical political change. Looking at the work of William Kentridge in the context of South Africa's Truth and Reconciliation Commission, it argues the ways that the language of nation‐building fails to account for the experience of trauma as it resists absorption into the structures of historical time and the ‘talking cure’. In particular, it considers how Kentridge's unique…
Constructing Worlds
Barbican Art Gallery, September 25, 2014 – January 11, 2015It is broadly acknowledged that architecture and photography have historically enjoyed a happy reciprocity. Because of their inherent stil
And death I think is no parenthesis’
The past few decades have witnessed a proliferation of photographic images (often in photobooks or online) focusing on the aged and the terminally ill. These works cut across different photographic practices, bringing together the documentary, the vernacular and the art photograph. Rather than individual ‘decisive moment’ shots, such works almost always occur in sequences or series, tracking a process whose telos is inevitably death. Following Ro…
Vieira, Jorge
Castro, (Maria de) Lourdes
Azevedo, Fernando de
Eloy, Mário
Pedro, António
Lanhas, Fernando
Costa Pinheiro
Pomar, Júlio
Botelho, Carlos
Amadeo
Santa-Rita
Dacosta, António
Rodrigo, Joaquim
Menez
Cruzeiro Seixas
Bertholo, René
Viana [Vianna], Eduardo
History as the Main Complaint
This essay considers the relation of history to memory in the process of radical political change. Looking at the work of William Kentridge in the context of South Africa's Truth and Reconciliation Commission, it argues the ways that the language of nation‐building fails to account for the experience of trauma as it resists absorption into the structures of historical time and the ‘talking cure’. In particular, it considers how Kentridge's unique…
An Impossible Love
Paula Rego's work is frequently considered in terms of a feminist subversion of the tenets of patriarchy. Here, I analyse a group of seven panels made in pastel, in order to throw light on the relationship between obedience and resistance in the formation of female subjects in Rego's work, exploring the interpellative underpinnings that shape and constrain them. Examined in relation both to the imagery of hysteria deployed by nineteenth‐century F…
Home Truths
Constructing Worlds
Barbican Art Gallery, September 25, 2014 – January 11, 2015It is broadly acknowledged that architecture and photography have historically enjoyed a happy reciprocity. Because of their inherent stil
And death I think is no parenthesis’
The past few decades have witnessed a proliferation of photographic images (often in photobooks or online) focusing on the aged and the terminally ill. These works cut across different photographic practices, bringing together the documentary, the vernacular and the art photograph. Rather than individual ‘decisive moment’ shots, such works almost always occur in sequences or series, tracking a process whose telos is inevitably death. Following Ro…
Performing for the camera 18 February–12 June 2016, Tate Modern
The vernacular under pressure from the digital
Re-Take of Amrita (2001–2) is a series of digital photomontages by Indian artist Vivan Sundaram, constructed using photographs from a family album authored primarily by his grandfather, Umrao Singh Sher-Gil. I explore the relation of two examples from Re-Take to its predecessor, Sundaram’s The Sher-Gil Archive (1995), as well as to its source in Umrao’s album, and in doing so, I also explore the relationship between album and archive. Sundaram’s …
Art (10 works) · Computer Science (10 works) · Photography and Visual Culture (5 works) · Visual arts (5 works) · Art history (4 works) · Geography (4 works) · Historical Education and Society (4 works) · Literature, Culture, and Criticism (4 works) · Philosophy (4 works) · Photography (4 works)