Tacita Dean and Still Life

Krcma, Ed ORCID: https://orcid.org/0000-0002-1945-5107 (2014) Tacita Dean and Still Life. Art History, 37 (5). pp. 960-977. ISSN 1467-8365

Full text not available from this repository.

Abstract

This article explores the relationship between the work of Tacita Dean and still life painting, focusing upon two recent films made from footage shot in the re-installed bedroom studio of Giorgio Morandi (Day for Night and Still Life, both 2009). I argue that the history of still life painting dramatizes three of Dean’s key concerns: with transience and finitude; with a heightened attention to the textures and surfaces of the material world; and with forms of formal, historical and conceptual self-reflexivity. Ultimately, what is at stake in Dean’s return to the genre of still life, I argue, is the negotiation of art’s conditional and precarious autonomy, which is dependent upon yet resistant to powerful heteronomous forces dominated by exchange value.

Item Type: Article
Uncontrolled Keywords: tacita dean,morandi,still life painting,film,drawing,autonomy,theodor adorno,louise lawler,contemporary art,visual arts and performing arts ,/dk/atira/pure/subjectarea/asjc/1200/1213
Faculty \ School: Faculty of Arts and Humanities > School of Art, Media and American Studies (former - to 2024)
UEA Research Groups: Faculty of Arts and Humanities > Research Groups > Art History and World Art Studies
Related URLs:
Depositing User: Pure Connector
Date Deposited: 25 Sep 2015 12:04
Last Modified: 09 Sep 2024 00:39
URI: https://ueaeprints.uea.ac.uk/id/eprint/54465
DOI: 10.1111/1467-8365.12103

Actions (login required)

View Item View Item