Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. In Prehistoric Future, Ralph Ubl approaches Ernst like no one else has, using theories of the unconscious-surrealist automatism, Freudian psychoanalysis, the concept of history as trauma-to examine how Ernst's construction of collage departs from other modern artists. Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged-rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image or memory comes into the mind's view. In addition, Ernst scoured the past for obsolete scientific illustrations and odd advertisements to illustrate the rapidity with which time passes and to simulate the apprehension generated when rapid flows of knowledge turn living culture into artifact. Ultimately, Ubl reveals, Ernst was interested in the construction and phenomenology of both collective and individual modern history and memory. Shedding new light on Ernst's working methods and the reasons that his pieces continue to imprint themselves in viewers' memories, Prehistoric Future is an innovative work of critical writing on a key figure of surrealism.

Painting, Modern --- Painting --- History. --- History --- Ernst, Max, --- Ernst, Maximilian, --- Criticism and interpretation. --- Influence. --- Dadaism --- Surrealism --- Superrealism --- Surrealism in art --- Arts, Modern --- Dada --- Tabu-Dadaism --- Dadaism. --- Surrealism. --- Influence (Literary, artistic, etc.). --- Painting, Modern. --- 1900-1999. --- max ernst, painting, painter, art, artist, artwork, history, historical, 20th century, dada, surrealism, unconscious, surrealist automatism, freud, freudian psychoanalysis, trauma, screen image, replication, simulation, scientific illustrations, drawings, frontage, grattage, collages, cultural movement, element of surprise, juxtaposition, avant-garde, nonsense, irrationality, protest.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

De Kooning, Willem

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This volume has its starting point in the veritable explosion of serialized formats in all of forms representation, from painting to printing, beginning in the mid nineteenth century and the well-known fascination with series in biology, mathematics, music, art, or literature. The new media culture of the late nineteenth century, very much shaped by these serialized formats, sees itself confronted with questions of truthfulness in new and profound ways, just as perhaps the accelerated rhythm, anonymity, and broadened accessibility of new media today have created new possibilities for the dissemination of misinformation and, conversely, give us cause to interrogate anew our notions of truthfulness. By examining both the formal operations of both aesthetic and scientific objects in a series form, and the historical context of their publication or presentation, the contributions in this volume examine the often strained, but yet immensely productive relationship between the way in which a series negotiates questions of truthfulness: both by reference to the rules established in its series form or by means of its serial format. This volume provides ten detailed cases of the series form from the history of science and journalism, and the history of painting, photography, and literature as well.

LITERARY CRITICISM / General. --- Serialization. --- epistemics. --- form. --- realism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Christian cultures across the centuries have invoked Judaism in order to debate, represent, and contain the dangers presented by the sensual nature of art. By engaging Judaism, both real and imagined, they explored and expanded the perils and possibilities for Christian representation of the material world. Christian cultures across the centuries have invoked Judaism in order to debate, represent, and contain the dangers presented by the sensual nature of art. By engaging Judaism, both real and imagined, they explored and expanded the perils and possibilities for Christian representation of the material world.