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Coleman, James --- with an essay by Rosalind E. Krauss --- film --- video --- Coleman James --- Verenigde Staten --- 791.45 COLEMAN --- Coleman, James.

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- James Coleman 1970-1985 (1985) / Anne Rorimer ##- The place of the spectator in the work of James Coleman (1983) ; The enigma of the hero in the work of James Coleman (1983) / Jean Fisher ##- The living dead (living and presumed dead) (1996) / Raymond Bellour ##- Narratives of no return: James Coleman's guaiRE (1993) / Luke Gibbons ##- Memory lessons and history tableaux: James Coleman's archaeology of spectacle (1995) / Benjamin H.D. Buchloh ##- A tempered agnosia (1992) / Lynne Cooke ##- Live vocals (2002) / Kaja Silverman ##- " ... and then turn away?" (1997) ; Reinventing the medium: introduction to Photograph (1999) / Rosalind Krauss.

778.5.07 --- Videokunstenaars, laserkunstenaars, computerkunstenaars, klank en beeld kunstenaars --- 7.07 --- 7.01 --- Videokunst ; video-installaties ; 2de helft 20ste eeuw ; J. Coleman --- Kunst en maatschappij --- Kunsttheorie ; teksten en essays ; October Files --- Coleman, James °1941 (°Ballaghaderreen, Ierland) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A-Z --- Kunst ; theorie, filosofie, esthetica --- Conceptual art --- Coleman, James, --- Criticism and interpretation --- Conceptual art - Ireland --- Coleman, James, - 1941- - Criticism and interpretation --- Coleman, James, - 1941 --- -778.5.07 --- -Coleman, James, - 1941 --- -Conceptual art --- -Coleman, James, --- -Coleman, James, - 1941-

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In a detailed essay, the film theorist Kaja Silverman discusses the four works Background (1991-94), Lapsus Exposure (1992-94), Initials (1993/94) and Photograph (1998/99) The Irish-born artist James Coleman became known throughout the eighties and nineties with audiovisual works that are extraordinarily precise, both with respect to their pictorial and their literary qualities. Artists such as Douglas Gordon, Stan Douglas or Steve McQueen profess to have been greatly influenced by them. His videos, films and theatre projects and especially his large-scale slide projections are quite exceptional : Coleman presents tightly orchestrated social situations in colourful multiple fade-over stills accompanied by spoken text with a highly differentiated sound track. Although the pictures shown are reminiscent of scenes from daily life, film or literature, their narrative structure remains metaphorical. questions of perception are supplied with psychological, cultural and historic dimensions.

Stage photography --- Portrait photography --- Photographie de théâtre --- Portrait (Photographie) --- Exhibitions --- Expositions --- Coleman, James, --- Criticism and interpretation --- Coleman, James --- Susanne Gaensheimer ; Mit einem Essay von Kaja Silverman ; Übersetzt von Goger M. Buergel ; Herausgegeben von Helmut Friedel --- kunst --- Coleman James --- videokunst --- video --- film --- installaties --- 791.45 COLEMAN --- 7.071 COLEMAN --- Photographie de théâtre --- Video art

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Akerman, Chantal ; Baldessari, John ; Clark, Larry ; Coleman, James ; Douglas, Stan ; Frank, Robert ; Goldin, Nan ; Gonzalez-Torres, Felix ; Graham, Dan ; Noland, Cady ; Richter, Gerhard ; Rosler, Martha ; Ruscha, Edward ; Wall, Jeff ; Warhol, Andy

Painting --- photography [process] --- Photography --- Art --- installations [visual works] --- Iconography --- painting [image-making] --- assemblages [sculpture] --- Noland, Cady --- Warhol, Andy --- Ruscha, Ed --- Akerman, Chantal --- Frank, Robert --- Graham, Dan --- Baldessari, John --- Douglas, Stan --- Goldin, Nan --- Coleman, James --- Gonzalez-Torres, Felix --- Clark, Larry --- Wall, Jeff --- Rosler, Martha --- Richter, Gerhard --- anno 1900-1999 --- United States --- Gonzales-Torres, Felix --- mass media --- United States of America

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Following two precious volumes of writings from the 1970s-90s Canadian magazine Parachute-- Museums, Art History, and Theory and Performance & Performativity--the essays collected in this third volume focus on photography, film, video and new media. These genres were discussed in some of the earliest volumes of Parachute. Photography received particular attention in the early 1980s, film and video later in that decade and through the beginning of the 1990s. Discussing what were then still relatively new and overlooked artistic fields, these texts are particularly useful as signposts to how these new media and works were approached. The essays discuss works by artists such as Eija-Liisa Ahtila, James Coleman, Nan Goldin, Bill Viola and Rodney Graham. The texts by Georges Didi-Huberman, Douglas Crimp and Laura Mulvey, written in the early 1980s, are among their most seminal.

Editions Parachute. --- citatisme --- Revue d'art --- General idea --- Wodiczko Krzysztof --- institutionele kritiek --- Austin John Langshaw --- Austin J.L. --- performances --- 7.01 --- 7.038 --- concept art --- conceptuele kunst --- Barney Matthew --- Geers Kendell --- Rainer Yvonne --- globalisering --- feminisme --- gender studies --- kunst --- Canada --- tijdschriften --- twintigste eeuw --- Art criticism --- Art, Canadian --- Arts, Modern --- kunsttheorie --- musea --- appropriation art --- postmodernisme --- Parachute --- kunst en politiek --- museologie --- Théorie de l'art --- Analyse de l'art --- Philosophie de l'art --- Art contemporain --- Performance --- Muséologie --- Art numérique --- Média --- Art vidéo --- Photographie --- Cinéma --- fotografie --- video --- videokunst --- Graham Rodney --- Coleman James --- Ahtila Eija-Liisa --- Goldin Nan --- ADILKNO --- postkolonialisme --- stadsfotografie --- Viola Bill --- Magnificent obsession --- corps-cliché --- kunsttijdschriften --- computerkunst --- nieuwe media --- film --- Austin J.L