Verwandte Artikel zu Gisele Amantea [Paperback] by Augaitis, Daina
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- Erscheinungsdatum1991
- ISBN 10 0920159370
- ISBN 13 9780920159378
- EinbandTapa blanda
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Gisele Amantea
Verlag:
Walter Phillips Gallery, Banff, Alberta
(1991)
ISBN 10: 0920159370
ISBN 13: 9780920159378
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Buchbeschreibung Softcover. Zustand: As New. First Edition. 32 pages. Numerous illustrations. Essays by Daina Augaitis and David Joselit. Exhibition catalogue published in conjunction with an exhibition at the Walter Phillips Gallery, Banff, Alberta, 1991. The book appears unread and looks New.; 8vo - over 7 3/4" - 9 3/4" tall. Bestandsnummer des Verkäufers 03553
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Gisele Amantea.
Verlag:
Walter Phillips Gallery., Banff, Alberta
(1982)
ISBN 10: 0920159370
ISBN 13: 9780920159378
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Buchbeschreibung Soft cover. Zustand: Very Good. 1st Edition. First printing in paper covers. 35 pp. Black and white colour illustrations. Some scratching on the front cover. Very Good. Bestandsnummer des Verkäufers 247581
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Beispielbild für diese ISBN
Gisele Amantea
Verlag:
Walter Phillips Gallery, Banff
(1991)
ISBN 10: 0920159370
ISBN 13: 9780920159378
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Softcover
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Buchbeschreibung Zustand: Very Good. Zustand des Schutzumschlags: No Dj. Larger 8vo pp. 32, b/w and colour illustrations of art works. Catalogue of exhibition from the Walter Phillips Gallery, November 17, 1990 to January 15, 1991. book. Bestandsnummer des Verkäufers 178263
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Gisele Amantea. Essays by Daina Augaitis, David Joselit.
Verlag:
Walter Phillips Gallery
(1991)
ISBN 10: 0920159370
ISBN 13: 9780920159378
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Buchbeschreibung Broschiert. Zustand: Sehr gut. 32 S. mit Abb. Gutes Ex. - HEAVEN IS A PLACE ON EARTH SOME RECENT WORKS BY GISELE AMANTEA David Joselit // "Ohhh, heaven is a place on earth." Madonna. Three ornately framed mirrors sandblasted with three related texts, constitute one of Gisèle Amantea's recent works, titled Aporia. "Aporia" means unresolvable doubt, and its significance, like the turnings of a labyrinth, leads to the core of Amantea's art. Aporia produces several types of doubling: it performs the division of the self into body and image; it alludes to the border between life and death; and, on a political level, it introduces the social struggle, identified with feminism, between men and women. The mirror, which divides the self into a physical being and an image, is the most ancient metaphor of representation. In Aporia, Amantea uses the reflective surface to split apart the act of reading: while scanning the texts for their meanings, one loses sight of his or her reflection in the mirror, but when the viewer pauses to gaze at - to read - his or her double, the texts themselves lose focus, disappear, or become mute like hieroglyphs tattooed onto the image of the self. Aporia presents the experience of reading as an always unstable oscillation between an embodied text as perceived by a disembodied reader, and an embodied reader for whom the significance of the text dissolves. The image of the self and the image of language alternate, but can never coexist within the mirror. Such a dynamic, characterized by the appearance and disappearance of the self is accentuated - even radicalized - by the reference to death introduced by the mirror's golden frames of flowers, each handmade by the artist using the techniques of cake decoration. As Amantea has stated, the frames are meant to echo Marsden Hartley's reference in Roses, a painting of 1941, to the practice among sailors in Nova Scotia of commemorating their dead by throwing wreaths of flowers onto the sea.1 The division between body and image, or self and language, which Aporia dramatizes with its mirrors, is gendered and politicized through its juxtaposition of texts. The central mirror supports William Butler Yeats' poem "The White Birds," an urgent, romantic lyric which invokes the ecstasy of escape and freedom through the metamorphosis of love, only to fall back onto the impossibility of this dream. (S. 5/6) ISBN 0920159370 Sprache: Deutsch Gewicht in Gramm: 550. Bestandsnummer des Verkäufers 935550
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