Download Art, Agency and Living Presence: From the Animated Image to by Caroline Van Eck PDF

By Caroline Van Eck

All through heritage and around the globe, humans have interacted with artworks as though they have been dwelling beings instead of static gadgets. humans consult works of art, kiss or punch them, even fall in love with them. The phenomenon is greatly documented, but there were virtually no makes an attempt to formulate a theoretical account of this interplay or gather a background of ways it's been understood. This e-book fills that hole, concentrating on sculpture within the interval among 1700 and 1900 and drawing on rhetoric and fetish thought to construct a proof of ways the brilliant physicality of artistic endeavors leads audience to transgress the common barriers among items and themselves.

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Extra info for Art, Agency and Living Presence: From the Animated Image to the Excessive Object (Studien aus dem Warburg-Haus)

Sample text

This seemed acceptable to Barry. He took his bottle out of the bucket and untwisted the foil, waving off the offer of help from a hovering waitress. He popped the cork and refilled our glasses, with that waiter’s trick of holding the base of the bottle in his palm and tipping the whole thing. 46 ‘So, Randall,’ he said. ‘You’re, what, a painter? A sculptor? Or one of these new…’ A wave of the bottle stood in for the word. He was half watching the game even as he spoke. ‘Yes,’ said Randall, and he copied the gesture, somewhat more camply.

They were piled up on the table, all of them: the ones I read, the ones my parents read, and the ones my bosses read. How insanely bored, or brainy, you’d have to be, I remember thinking, to want to read all the newspapers. The house was a dump. It was, I suppose, just your average student digs, but this was a corner of the property market I was hardly familiar with. Part of me thought I’d be best making a move as soon as possible – get home, get into the shower and into some clean clothes – but my body, huddled inside its grub-like bag, was in no hurry, and nor did anyone else seem to be.

What happened was that, as the party downshifted from dancing to sitting, people did get around to talking about art, discussing the different works: the good, the bad and the wonderfully, peerlessly awful. It was the end of their time at the college, so they were keen to look both back and forward, to pass final judgment and extend fantastical prophesies. At one point I turned to Randall and asked him what it was he’d done. ‘It’s called Perfect Circle,’ he said. He took a final, squint-eyed draw on a joint, and passed it to me.

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