東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Sympathetic Materialism: Allan Sekul...

Young, Benjamin James.

Linked to FindBook

Google Book

Amazon

博客來

Sympathetic Materialism: Allan Sekula's Photo-Works, 1971--2000.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sympathetic Materialism: Allan Sekula's Photo-Works, 1971--2000./
Author:	Young, Benjamin James.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	241 p.
Notes:	Source: Dissertation Abstracts International, Volume: 80-03(E), Section: A.
Contained By:	Dissertation Abstracts International80-03A(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10930044
ISBN:	9780438643222

Sympathetic Materialism: Allan Sekula's Photo-Works, 1971--2000.
Young, Benjamin James.

Sympathetic Materialism: Allan Sekula's Photo-Works, 1971--2000. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 241 p.

Source: Dissertation Abstracts International, Volume: 80-03(E), Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 2018.

This monographic dissertation analyzes the photography-based artwork of Allan Sekula (1951--2013) by focusing on the contested status of the human figure in his works made from 1971 to 2000. The first part situates his photography within a struggle over documents and documentation in Southern California during the Vietnam War era, showing how his early works engage not only with the use of photographic documents by conceptual art, but also with activist antiwar journalism in underground newspapers as well as surveillance photographs and mug shots made by the police. In addition to exploring evidentiary photography's role in both art and politics, the dissertation also investigates how Sekula adopts a performative model of portraiture that acknowledges the social relations and material infrastructure that allows for picture-making to take place, especially the relation between viewer and subject. It contextualizes this performative portraiture as partly a struggle over realism that rejects photorealism in painting while adopting Brechtian aesthetics in photography. The second part explores how Sekula revives the neglected genre of the group portrait, contrasting his works that depict crowds of workers or his own family with the representations of public life by both the business corporation and liberal social documentary. It argues that Sekula's artworks ultimately aim, through their use of sequential montage, or the quasinarrative sequencing of multiple still images, to make visible transindividual forms of social life. It shows how Sekula's works weave together singularity and collectivity in ways that contest the usual partitions of social and economic life, especially the global division of labor, which he address in his late works that document maritime space, containerized shipping, and the political and spatial changes wrought by globalization. It concludes by demonstrating how Sekula's practical aesthetics involve a documentary ethic of responding to the given that is implicitly in tension with the iconoclastic model of ideology critique at work in many of his critical texts. This documentary ethic can be described as what Sekula called "sympathetic materialism," an ethico-political orientation of sensitivity, receptivity, or exposure to bodily vulnerability and suffering that goes beyond the iconography of labor and Marxian politics with which he is commonly associated.

ISBN: 9780438643222Subjects--Topical Terms:

2122701
Art history.

Sympathetic Materialism: Allan Sekula's Photo-Works, 1971--2000.
LDR:03388nmm a2200313 4500 001 2204341
005 20190709084847.5
008 201008s2018 ||||||||||||||||| ||eng d
020 $a 9780438643222
035 $a (MiAaPQ)AAI10930044
035 $a (MiAaPQ)berkeley:18186
035 $a AAI10930044
040 $a MiAaPQ $c MiAaPQ
100 1 $a Young, Benjamin James. $3 3431187
245 1 0 $a Sympathetic Materialism: Allan Sekula's Photo-Works, 1971--2000.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 241 p.
500 $a Source: Dissertation Abstracts International, Volume: 80-03(E), Section: A.
500 $a Adviser: Judith Butler.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2018.
520 $a This monographic dissertation analyzes the photography-based artwork of Allan Sekula (1951--2013) by focusing on the contested status of the human figure in his works made from 1971 to 2000. The first part situates his photography within a struggle over documents and documentation in Southern California during the Vietnam War era, showing how his early works engage not only with the use of photographic documents by conceptual art, but also with activist antiwar journalism in underground newspapers as well as surveillance photographs and mug shots made by the police. In addition to exploring evidentiary photography's role in both art and politics, the dissertation also investigates how Sekula adopts a performative model of portraiture that acknowledges the social relations and material infrastructure that allows for picture-making to take place, especially the relation between viewer and subject. It contextualizes this performative portraiture as partly a struggle over realism that rejects photorealism in painting while adopting Brechtian aesthetics in photography. The second part explores how Sekula revives the neglected genre of the group portrait, contrasting his works that depict crowds of workers or his own family with the representations of public life by both the business corporation and liberal social documentary. It argues that Sekula's artworks ultimately aim, through their use of sequential montage, or the quasinarrative sequencing of multiple still images, to make visible transindividual forms of social life. It shows how Sekula's works weave together singularity and collectivity in ways that contest the usual partitions of social and economic life, especially the global division of labor, which he address in his late works that document maritime space, containerized shipping, and the political and spatial changes wrought by globalization. It concludes by demonstrating how Sekula's practical aesthetics involve a documentary ethic of responding to the given that is implicitly in tension with the iconoclastic model of ideology critique at work in many of his critical texts. This documentary ethic can be described as what Sekula called "sympathetic materialism," an ethico-political orientation of sensitivity, receptivity, or exposure to bodily vulnerability and suffering that goes beyond the iconography of labor and Marxian politics with which he is commonly associated.
590 $a School code: 0028.
650 4 $a Art history. $3 2122701
650 4 $a American history. $3 2122692
650 4 $a Labor relations. $3 3172144
690 $a 0377
690 $a 0337
690 $a 0629
710 2 $a University of California, Berkeley. $b Rhetoric. $3 1684179
773 0 $t Dissertation Abstracts International $g 80-03A(E).
790 $a 0028
791 $a Ph.D.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10930044