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 seventeenth-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyses the productive relationship between Caravaggio and a number of late-twentieth-century artists who 'quote' the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Mona Hatoum, Jeanette Christensen, and Ana Mendieta, among others.
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