Word: one
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Last Tuesday the Harvard Film Archive explored the history of those responses, using one of the earliest cinematic portrayals of the Holocaust as a starting point for a broader discussion...
...sociopolitical and economic conventions of art institutions can be examined and challenged in more literal forms like essays. Why did you choose to do so from an artistic approach? Do you believe one method is more effective...
...where you can invent yourself and the world. [But] artists can’t invent meaning themselves. What works come to mean and how they exist in the marketplace and history is external to our control. That for me was the radical recognition now associated with institutional critique. If one thinks of this in this manner, it can go two ways. One was even more of a reaction: once we know how determining institutions are, let’s escape them. There was some of that impulse in me and my early work...
...never about escaping institutions. Like Marcel Duchamp’s “Urinal”—an object only takes on a specific meaning as an art object within a discourse with the history of art and within these institutions. Instead [of trying to escape] one is left to struggle within this discourse...
...selected film was André de Toth’s “None Shall Escape” (1944), one of a small number of World War II-era Hollywood films that represented the extermination of European Jews then underway. The screening was preceded and followed by discussions with Jean-Michel Frodon, former managing editor of the seminal French film magazine, Cahiers du cin?...