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

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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
UEA Research Groups: Faculty of Arts and Humanities > Research Groups > Art History and World Art Studies
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Depositing User: Pure Connector
Date Deposited: 25 Sep 2015 12:04
Last Modified: 17 Sep 2023 06:30
URI: https://ueaeprints.uea.ac.uk/id/eprint/54465
DOI: 10.1111/1467-8365.12103

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