The Experimental Self - Berman, Patricia G.; Gunning, Tom; Pappas, MaryClaire
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Edvard Munch was the first artist of his time to use the camera for "selfies". Munch saw the camera as another way to express himself artistically.

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Produktbeschreibung
Edvard Munch was the first artist of his time to use the camera for "selfies". Munch saw the camera as another way to express himself artistically.
Autorenporträt
Patricia G. Berman holds the Feldberg Chair of Art at Wellesley College, Massachusetts, U.S., specializing in modern and contemporary art, photography, and propaganda studies. She has also taught at the University of Oslo where she facilitated the research network “Munch, Modernism, and Modernity.” Her books and exhibition catalogues include studies of Edvard Munch, the Belgian artist James Ensor, nineteenth-century Danish painting, gestural drawing, and contemporary art. The exhibition The Experimental Self. Edvard Munch’s Photographs, which she curated, is currently traveling in Europe and the U.S. Berman is now at work on a book about the politics and visual culture of the sun tan. Tom Gunning has published widely on early cinema, and on the culture of modernity that generated it. His book D .W. Griffith and the Origins of American Narrative Film (1991) traces the ways film styles interact with new economic structures in the early American film industry and with new storytelling tasks. His latest book, The Films of Fritz Lang: Allegories of Vision and Modernity (2000), deals with the systematic nature of Lang’s oeuvre and processes of interpretation. Gunning has also written extensively on Avant-Garde film, genre in Hollywood cinema, and the relation between cinema and technology. The issues of film culture, the historical factors of exhibition and criticism, and the spectator’s experience of film are recurrent themes in his work. MaryClaire Pappas is a PhD Candidate at Indiana University specializing in modern European Art, with an emphasis on Scandinavian paintings, prints, and drawings. Her dissertation, “Imaging Modernity: Modernism between Norway and Sweden, 1910–1924” focuses on the discourse of modernism occurring among Norwegian and Swedish artists in the early twentieth century. Pappas holds a master’s degree from Queen’s University and has previously worked on the Catalogue Raisonné project for Edvard Munch’s drawings. Research for her dissertation has been funded by the American-Scandinavian Foundation, the Fulbright U.S. Scholar Program, the Einar and Eva Lund Haugen Memorial Fellowship, and the Jean Monnet Centre of Excellence in European Studies.