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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
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: | 24 Sep 2024 11:24 |
| URI: | https://ueaeprints.uea.ac.uk/id/eprint/54465 |
| DOI: | 10.1111/1467-8365.12103 |
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