Quoting Caravaggio : contemporary art, preposterous history
Author(s)
Bibliographic Information
Quoting Caravaggio : contemporary art, preposterous history
University of Chicago Press, 1999
- : cloth
- : pbk
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Note
Bibliography: p. 269-285
Includes indexes
Description and Table of Contents
- Volume
-
: cloth ISBN 9780226035567
Description
As period, as style, as sensibility, the Baroque remains elusive, its definition subject to dispute. Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In "Quoting Caravaggio", Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history. Mieke Bal's primary object of investigation in "Quoting Caravaggio" is not the great 17th-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-20th-century artists who "quote" the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of "Quoting Caravaggio" shows particular ways in which quotation is vital to the new art but also to the source from which it is derived.
Through such dialogue between present and past, Bal argues for a notion of "preposterous history" where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists. "Quoting Caravaggio" is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, a critical exposition of contemporary artistic representation and practice.
Table of Contents
Contents List of Illustrations Acknowledgments Introduction Preposterous History "Quoting ..." Re-Visioning the Baroque "... Caravaggio" (and Those Who Quote Him) Meta-Baroque Theoretical Objects and the Life of Ideas 1. Skin-Deep: A Baroque Point of View A History by Default/The Fold The Body Inside Out: Baroque Point of View Folds That Matter 2. White History White and the Mirror Death and the Body Nostalgia Isn't What It Used to Be 3. Reading Caravaggio: Basic Instincts and Their Discontents Misfiring Inside the Readable Interpellation and Identity 4. Sighting Time Time's Spurts of Blood Tombstones, Gossip, and Stories of Origin Visual Poetics A Poetics of Vision Playing the Game Art Writing 5. Space, Inc. The Matter with Semiosis Killing Mirrors The Index and Psychic Space Deixis: A Special Pleading for the Orientation of the Index Light and the Black Body 6. Second-Person Narrative Sticky Images Time Out Nonfigurative Narrative First Person, Second Person, Same Person Time, in Two Episodes Engaging Caravaggio Light-Writing The Sense of Not-Ending Is That Narrative? 7. Mirrors of Nature A Mirror with a Twist Mirroring Constructivism A Mirror with a Stain A Mirror That Cuts A Mirror with a Crack Presences Naturally Yours 8. Narcissus Now Beyond Mapping The Landscape in the Corner of Your Eye Narcissus's Vision The Mirror Cracked Framing Vision Afterword References Indexes ??
- Volume
-
: pbk ISBN 9780226035574
Description
As period, as style, as sensibility, the Baroque remains elusive, its definition subject to dispute. Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In "Quoting Caravaggio", Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history. Mieke Bal's primary object of investigation in "Quoting Caravaggio" is not the great 17th-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-20th-century artists who "quote" the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of "Quoting Caravaggio" shows particular ways in which quotation is vital to the new art but also to the source from which it is derived.
Through such dialogue between present and past, Bal argues for a notion of "preposterous history" where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists. "Quoting Caravaggio" is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, a critical exposition of contemporary artistic representation and practice.
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