Surface: Matters of Aesthetics, Materiality, and Media
Giuliana Bruno
Language: English
Pages: 288
ISBN: 022643463X
Format: PDF / Kindle (mobi) / ePub
Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place.
Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.
Philosophy Between the Lines: The Lost History of Esoteric Writing
The Therapy Industry: The Irresistible Rise of the Talking Cure, and Why It Doesn't Work
Actual design of duration. Indeed, design, architecture, and cinema all move with the temporal mood of history as traces of the movement of time. In particular, to use Adorno’s words, “fashion is one of the ways in which historical change affects the sensory apparatus.”51 These objects of material culture are sensitive mnemonic fabrications. They hold in the pleats of their material texture the inner rhythm, the actual movement, of mental unfolding—the temporal flow that shapes the surface of.
Night travels through time, speaking to the history that made the dream of cinema come to light in the age of modernity as a passage of luminous images. As we watch the light beaming and flickering, twinkling and shimmering, we come to experience the magic of magic lanterns and the shining projections of early modernity’s phantasmagoric shows. The filmic performance bears witness to the phantasmagoria that—traveling all the way from the lanterns of Athanasius Kircher in the seventeenth century to.
In many ways, passing in projection. A Wearing of Surface: Stain, Decay, Decasia. Kodak is a reflection on the CHAPTER FIVE expected demise of a medium that is central to Dean, an artist who insists on shooting in film. It engages a specific material but does so in a way that goes beyond medium specificity. This film is part of a larger, hybrid discourse that engages both cinema and art, and their relations, in representing a contemporary concern for forms of archiving and obsolescence and for.
Potential to disappear and pass away. As it insists on this passing, Decasia suggests that we think of the state of the image as 122 a relic. Here we can sense the conceptual process that made the fabric of film kin to the death mask and genealogically related to the mummy, showing a trace of its passing at the very moment of the medium’s inception, and not just in obsolescence.27 In terms of such genealogical relics, we can also sense in this film, in the process of the exposure of vestiges,.
Exhibition itself developed in cinematic ways. As a form of spectatorship, film exhibition is in fact historically linked in profound ways to the culture of exhibition and the art of projection of early modernity. Cinema 151 SITES OF SCREENING 6.6. The moving panorama Trans-Siberian Express, exhibited at the 1900 Exposition Universelle Internationale, Paris. CHAPTER SIX emerged from a specific “architecture” of tactile vision and mode of exhibition, coming to light in the wake of an.