IRIS publication 256972941
Tacita Dean and Still Life
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TY - JOUR - Krčma, Ed - 2014 - November - Art History - Tacita Dean and Still Life - Published - () - Tacita Dean, Still Life, Adorno, Autonomy, Contemporary Art, Giorgio Morandi, Film, Louise Lawler, Aura - 37 - 5 - 960 - 977 - This article explores the relationship between the work of Tacita Dean and still life painting, focusing upon two recent films made from footage shot in the re-installed bedroom studio of Giorgio Morandi (Day for Night and Still Life, both 2009). I argue that the history of still life painting dramatizes three of Dean’s key concerns: with transience and finitude; with a heightened attention to the textures and surfaces of the material world; and with forms of formal, historical and conceptual self-reflexivity. Ultimately, what is at stake in Dean’s return to the genre of still life, I argue, is the negotiation of art’s conditional and precarious autonomy, which is dependent upon yet resistant to powerful heteronomous forces dominated by exchange value. - Oxford and Boston - 0141-6790 DA - 2014/11 ER -
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@article{V256972941, = {Krčma, Ed }, = {2014}, = {November}, = {Art History}, = {Tacita Dean and Still Life}, = {Published}, = {()}, = {Tacita Dean, Still Life, Adorno, Autonomy, Contemporary Art, Giorgio Morandi, Film, Louise Lawler, Aura}, = {37}, = {5}, pages = {960--977}, = {{This article explores the relationship between the work of Tacita Dean and still life painting, focusing upon two recent films made from footage shot in the re-installed bedroom studio of Giorgio Morandi (Day for Night and Still Life, both 2009). I argue that the history of still life painting dramatizes three of Dean’s key concerns: with transience and finitude; with a heightened attention to the textures and surfaces of the material world; and with forms of formal, historical and conceptual self-reflexivity. Ultimately, what is at stake in Dean’s return to the genre of still life, I argue, is the negotiation of art’s conditional and precarious autonomy, which is dependent upon yet resistant to powerful heteronomous forces dominated by exchange value.}}, = {Oxford and Boston}, issn = {0141-6790}, source = {IRIS} }
Data as stored in IRIS
AUTHORS | Krčma, Ed | ||
YEAR | 2014 | ||
MONTH | November | ||
JOURNAL_CODE | Art History | ||
TITLE | Tacita Dean and Still Life | ||
STATUS | Published | ||
TIMES_CITED | () | ||
SEARCH_KEYWORD | Tacita Dean, Still Life, Adorno, Autonomy, Contemporary Art, Giorgio Morandi, Film, Louise Lawler, Aura | ||
VOLUME | 37 | ||
ISSUE | 5 | ||
START_PAGE | 960 | ||
END_PAGE | 977 | ||
ABSTRACT | This article explores the relationship between the work of Tacita Dean and still life painting, focusing upon two recent films made from footage shot in the re-installed bedroom studio of Giorgio Morandi (Day for Night and Still Life, both 2009). I argue that the history of still life painting dramatizes three of Dean’s key concerns: with transience and finitude; with a heightened attention to the textures and surfaces of the material world; and with forms of formal, historical and conceptual self-reflexivity. Ultimately, what is at stake in Dean’s return to the genre of still life, I argue, is the negotiation of art’s conditional and precarious autonomy, which is dependent upon yet resistant to powerful heteronomous forces dominated by exchange value. | ||
PUBLISHER_LOCATION | Oxford and Boston | ||
ISBN_ISSN | 0141-6790 | ||
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