Issue No. 6, Spring 1994
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Pastiche Zwischen Vanitas, Illusion Und Groteske : Inszenierte Stilllebenfotografie Im Ausgehenden 20
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2005 Pastiche zwischen Vanitas, Illusion und Groteske : inszenierte Stilllebenfotografie im ausgehenden 20. Jahrhundert Warring, Tanja Abstract: Die vorliegende Arbeit setzt sich mit einer veränderten Wahrnehmung des Fotografischen in der künstlerisch ambitionierten Fotografie der 1980er und 1990er Jahre auseinander. Der Fokus liegt aufdem auffallenden häufigen Zitieren altmeisterlicher Tafelgemälde oder piktorialistischer Fotografien. Künstler wie Robert Mapplethorpe, Cindy Sherman, Hiroshi Sugimoto oder Joel-Peter Witkin vereinigen dabei in ihren Fotografien angeeignete, modifizierte Genres und Stilelemente aus unterschiedlichen Quellen „ho- her„ und „niederer„ Kunst. Zur Definition dieses Phänomens wird der Begriff Pastiche herangezogen, der ursprünglich zweitrangige Werke aus der Malerei der Renaissance bezeichnete, die Stile und Motive etablierter Künstler imitierten. Ausgehend von der Frage, ob dieser nostalgische Rückblick ausschliesslich eine Wiederbelebung formal-ästhetischer Prinzipien oder eine eigentliche Dekonstruktion der Vorbilder darstellt, zeigt die Untersuchung, dass für die Kunstfotografie im späten 20. Jahrhundert beide Faktoren eine Rolle spielen. Die Fotokünstler suchen nach ästhetischen Mechanismen, die offen legen, dass die Fotografie wie die Malerei Dinge nicht nur abbildet, sondern vielmehr inszeniert. Sie nutzen diema- nipulativen Möglichkeiten der Fotografie zur Auseinandersetzung mit -
The New Yorker, September 21, 2015
PRICE $7.99 SEPT. 21, 2015 THE STYLE ISSUE SEPTEMBER 21, 2015 13 GOINGS ON ABOUT TOWN 41 THE TALK OF THE TOWN Amy Davidson on the Syrian refugee crisis; papal traffic; Ryan Reynolds; adapting “Tom Sawyer”; James Surowiecki on boomerang C.E.O.s. Evan Osnos 50 THE IMAM’S CURSE Was a Florida family financing terrorism? john kenney 59 WHY THE LONG FACE? lizzie Widdicombe 60 PERFECT PITCHING From reality star to celebrity entrepreneur. john Lahr 66 WILD AT HEART The paradox of Julianne Moore. Leanne Shapton 71 “RECENTLY FAVORITED” rebecca Mead 76 THE COUTURE CLUB The world’s wealthiest shoppers. Photographs by Luca Locatelli. FICTION AMos oz 88 “MY CURLS HAVE BLOWN ALL THE WAY TO CHINA” THE CRITICS A CRITIC AT LARGE PATRICK RADDEN Keefe 94 When Whitey Bulger became an informant for the F.B.I., who was in control? BOOKS Adam Gopnik 100 “Black Earth: The Holocaust as History and Warning.” 105 Briefly Noted Continued on page 6 4 THE NEW YORKER, SEPTEMBER 21, 2015 ON TELEVISION emily nussbaum 106 The rise of the small-screen rom-com. THE ART WORLD Peter schjeldahl 108 Picasso’s sculptures. THE CURRENT CINEMA Anthony Lane 110 “Sicario.” POEM Frieda Hughes 91 “Selfie” greg foley COVER “Crosswalk” DRAWINGS Michael Crawford, Tom Chitty, Roz Chast, Barbara Smaller, Kaamran Hafeez, David Sipress, Farley Katz, P. C. Vey, Michael Maslin, Paul Noth, Drew Dernavich, Will McPhail SPOTS Olimpia Zagnoli 6 THE NEW YORKER, SEPTEMBER 21, 2015 CONTRIBUTORS rebecca mead (“THE COUTURE CLUB,” P. 76) has been writing for The john lahr (“WILD AT HEART,” P. -
Official Dictionary of Unofficial English
The Official Dictionary Unofficialof English A Crunk Omnibus for Thrillionaires and Bampots for the Ecozoic Age Grant Barrett Copyright © 2006 by Grant Barrett. All rights reserved. Manufactured in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or ditributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-149163-5 The material in this eBook also appears in the print version of this title: 0-07-145804-2. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringe- ment of the trademark. Where such designations appear in this book, they have been printed with initial caps. ABOUT THE AUTHOR Grant Barrett is an American lexicographer and dictionary editor specializing in slang and new words. He is part of the team of lexicographers that make the new online dictionary Wordnik.com possible. Grant is also co-host of the American language- related public radio show "A Way With Words" http://www.waywordradio.org and editor of the "Oxford Dictionary of American Political Slang" (2004, Oxford University Press), and is well-known for his prize-winning online Double-Tongued Dictionary. Besides being a widely quoted language authority, Grant has written on language for such newspapers as the Washington Post and the New York Times, has contributed to the British book series "The Language Report," and is a public speaker about dictionaries and slang. -
Neoliberalism and the Struggle for American Democracy Since the 1960S Dawson Barrett University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations 5-1-2013 "To Avoid the Unimaginable": Neoliberalism and the Struggle for American Democracy Since the 1960s Dawson Barrett University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the United States History Commons Recommended Citation Barrett, Dawson, ""To Avoid the Unimaginable": Neoliberalism and the Struggle for American Democracy Since the 1960s" (2013). Theses and Dissertations. 74. https://dc.uwm.edu/etd/74 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “TO AVOID THE UNIMAGINABLE”: NEOLIBERALISM AND THE STRUGGLE FOR AMERICAN DEMOCRACY SINCE THE 1960s by Dawson Barrett A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History at The University of Wisconsin-Milwaukee May 2013 ABSTRACT “TO AVOID THE UNIMAGINABLE”: NEOLIBERALISM AND THE STRUGGLE FOR AMERICAN DEMOCRACY SINCE THE 1960s by Dawson Barrett The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Joe Austin This study explores the structural, tactical, and strategic legacies of 1960s era activism on subsequent American social movements. Specifically, this project explains how the ascendancy of neoliberal policies on both national and global scales has dramatically shifted opportunities for social change. Case studies for these developments include Earth First! and the punk rock movement during the 1980s, the Student-Farmworker Alliance in the 1990s, and a variety of anti-war organizations in the 2000s. -
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Is Evolution Evil?: Surgical Transformations As the New Punk Aesthetic in the 21St Century
Is Evolution Evil?: Surgical Transformations as the New Punk Aesthetic in the 21st Century by Daniel McKernan Is Evolution Evil?: Surgical Transformations as the New Punk Aesthetic in the 21st Century Each medium over time has been cherished for only a period of time before artists choose to modify and/or destroy it. Painting was thought to be defaced when Impressionists came about, though once this became an acceptable modification to the world of art along came artists like Picasso and Pollock to defile the medium once again. Duchamp caused one of the biggest turning points in art history with his revelation that a mere urinal was a sculpture worthy of exhibition in a gallery or museum space. This obvious slap in the face to all prior scultpors was a wake-up call to the entire contemporary art community because it recontextualized the very basis, the very grounds of a work of fine art. Soon enough, “a worldwide contingent of artists including Allan Kaprow, Georges Mathieu, … Joseph Beuys, Jean Tinguely, … and Piero Manzoni, soon extended the gestural art of Pollock into actual Performances, Happenings, and Events.” (36, Rush) With the dawn of performances, artists like Gilbert & George began to toy with the notion that the performance should not have an end. There need not be an “Exit Stage Right” in the script. They themselves became the sculpture—a single entity—where “every moment, awake or asleep, in the privacy of their home or in the public forum, is devoted to their artistic mission. Gilbert & George, the artwork, suffers for the benefit of humankind.” (71, Weinstraub) The body is just another medium.