Since childhood, Tony Fabijančić has travelled frequently to Yugoslavia and Croatia, the homeland of his father. He spent time with his peasant family in the village of Srebrnjak in the north and ...escaped to the Adriatic islands in the south where he could break free from the constraints of everyday life. Those two worlds—the north, marked by the haunting saga of family life, its history and material practices, and the south, a place defined by travel and escape—formed the two halves of Fabijančić’s Croatian life. Over time, he observed Srebrnjak become a white-collar weekend retreat, the community of peasants of the 1970s, to which he was first introduced, only a distant memory. From the continental interior of green valleys and plum orchards to the austere and skeletal karst coast, Drink in the Summer is a unique record of a place and people now lost to time, a description of a country’s varied landscapes, and a journey of discovery, freedom, beauty, and love.
The works of American assemblage artist Joseph Cornell, the constructions by the mechanical boxmaker in William Gibson's Count Zero (which are inspired by Cornell's works), and the chest in E.L. ...Doctorow's City of God, which contains documentation of Nazi atrocities in a Jewish ghetto in Lithuania, are examples of, respectively, certain kinds of memory: 1) fantasies of the past 2) personal memory and for the potential value of emotionally invested objects in a commodity-ridden world, and 3) historical fact. All of the boxes tell stories dependent upon time, and all textual in the sense that their objects tell stories, are embedded in various narratives, or depend upon the narrative and interpretive skills of viewers or readers for their meanings to be fully activated.
The works of American assemblage artist Joseph Cornell, the constructions by the mechanical boxmaker in William Gibson's Count Zero (which are inspired by Cornell's works), and the chest in E.L. ...Doctorow's City of God, which contains documentation of Nazi atrocities in a Jewish ghetto in Lithuania, are examples of, respectively, certain kinds of memory : 1) fantasies of the past 2) personal memory and for the potential value of emotionally invested objects in a commodity-ridden world, and 3) historical fact. All of the boxes tell stories dependent upon time, and all textual in the sense that their objects tell stories, are embedded in various narratives, or depend upon the narrative and interpretive skills of viewers or readers for their meanings to be fully activated. Publication abstract
This article will explore anamorphosis in David Lynch’s Mulholland Drive (2001). Appearing almost simultaneously with perspective as a mode of organizing sight in visual art and architecture mainly, ...anamorphosis was a type of perspective, popular in the sixteenth and seventeenth centuries, in which an image that was severely distorted could become suddenly “legible” if looked at from the correct angle. Among the ways that anamorphosis is evident in Mulholland Drive is its two-part design, which forces viewers to detect a hidden perspective in the first part of the film. Anamorphosis is visible also in the distortive imagery and changes in optical registers, such as the stylized jitterbug scene at the start of the film. Anamorphosis, finally, is noticeable in the form of an anamorphic figure like the Cowboy who casts a haunting pall over the action and who seems to exist both in the world of the film and outside, entering mysteriously or obliquely, at an angle as it were, with no clear, determinable place of origin. An analysis of anamorphosis in Mulholland Drive leads me to argue that an anamorphic drive is central to Lynch’s work more generally and that Lynch belongs to a very long tradition in the visual arts dating back to the fifteenth century.
While neither Vincent van Gogh nor William Faulkner is chronologically part of what art historians consider the expressionist generation, the emphasis in their work on the radical external expression ...of subjective experience suggests that both may be said to belong to the movement. It may be worthwhile to discuss artists from different eras in order to link their formal techniques and social concerns within a broader modernist context.
Arguing that a carceral diagram emerged in nineteenth-century consumer spaces like arcades and shopping boulevards, this essay amalgamates the work of Benjamin and Foucault by exploring Baron ...Haussmanns urban reconstructions, the rise of crowd psychology as a discipline, and the use of vision in the carceral phantasmagoria of shopping.
