Contemporary art is deeply engaged with the subject of classical myth. Yet within the literature on contemporary art, little has been said about this provocative relationship. Composed of fifteen original essays, Contemporary Art and Classical Myth addresses this scholarly gap, exploring, and in large part establishing, the multifaceted intersection of contemporary art and classical myth.
Contemporary art is deeply engaged with the subject of classical myth. Yet within the literature on contemporary art, little has been said about this provocative relationship. Composed of fifteen original essays, Contemporary Art and Classical Myth addresses this scholarly gap, exploring, and in large part establishing, the multifaceted intersection of contemporary art and classical myth.
Isabelle Loring Wallace is Associate Professor of Contemporary Art at the Lamar Dodd School of Art, University of Georgia, USA. Jennie Hirsh is Assistant Professor of Modern and Contemporary Art in the Department of Art History, Theory, and Criticism, Maryland Institute College of Art, USA.
Inhaltsangabe
Contents: Introduction Isabelle Loring Wallace and Jennie Hirsh; Prologue: Faraway so close; mythic origins contemporary art: the case of Kara Walker Lisa Saltzman. Section I Myth as Meaning: A poetics of becoming: the mythography of Cy Twombly Craig G. Staff; Art is glimpsed Sharon Hecker; Narcissus narcosis neurosis: the visions of Yayoi Kusama Jody B. Cutler; The porous space of Bracha L. Ettinger's Eurydices Marisa Vigneault; Double take or theorizing reflection in Felix Gonzalez-Torres Jennie Hirsh. Section II Myth as Medium: Lichtenstein's Narcissus Graham Bader; Philomela as metaphor: sexuality pornography and seduction in the textile works of Tracey Emin and Ghada Amer Giulia Lamoni; Icarus returned: the falling man and the survival of antiquity Sharon Sliwinski; Deep shit: thoughts on Wim Delvoye's Cloaca project Isabelle Loring Wallace. Section III Myth as Method: A new Parrhasius: Duane Hanson's uncanny realism Elizabeth Mansfield; Over and over again and again Emma Cocker; Video art in the house of Hades Sophie-Isabelle Dufour. Section IV Epilogue: The Sphinx unwinds her own sweet self Joanna Frueh; Bibliography; Index.
Contents: Introduction Isabelle Loring Wallace and Jennie Hirsh; Prologue: Faraway so close; mythic origins contemporary art: the case of Kara Walker Lisa Saltzman. Section I Myth as Meaning: A poetics of becoming: the mythography of Cy Twombly Craig G. Staff; Art is glimpsed Sharon Hecker; Narcissus narcosis neurosis: the visions of Yayoi Kusama Jody B. Cutler; The porous space of Bracha L. Ettinger's Eurydices Marisa Vigneault; Double take or theorizing reflection in Felix Gonzalez-Torres Jennie Hirsh. Section II Myth as Medium: Lichtenstein's Narcissus Graham Bader; Philomela as metaphor: sexuality pornography and seduction in the textile works of Tracey Emin and Ghada Amer Giulia Lamoni; Icarus returned: the falling man and the survival of antiquity Sharon Sliwinski; Deep shit: thoughts on Wim Delvoye's Cloaca project Isabelle Loring Wallace. Section III Myth as Method: A new Parrhasius: Duane Hanson's uncanny realism Elizabeth Mansfield; Over and over again and again Emma Cocker; Video art in the house of Hades Sophie-Isabelle Dufour. Section IV Epilogue: The Sphinx unwinds her own sweet self Joanna Frueh; Bibliography; Index.
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