Overview

This volume includes the editorial 'Can the referent abscond with its own representation?' by Thomas Crow; 'Ivory Towers' by Richard Taws; 'Are shadows transparent?' by Roberto Casati; 'The hidden witness of everything' by David Doris; 'Absconding in plain sight' by Roberta Bonetti; 'Immanence out of sight' by Joyce Cheng; 'A concrete experience of nothing' by William Smith; 'Believing in art' by Irene Small; 'Repositories of the unconditional' by Gabriele Guercio; 'Behind the colonnade' by Clemente Marconi; and, 'The myth of 'unmade' images and the art of absconding' by Gerhard Wolf. It also includes 'Moving eyes' by Bissera Pentcheva; 'Interior motives' by Melissa Katz; 'A secret kind of charm not to be expressed or discerned' by Rebecca Zorach; 'Out of sight, yet still in place' by Minou Schraven; 'Roma sotterranea and the biogenesis of New Jerusalem' by Irina Oryshkevich; 'Style and substance, or why the Cacaxtla paintings were buried' by Claudia Brittenham; 'Apparition painting' by Yukio Lippit; 'Enlivening the soul in Chinese tombs' by Wu Hung; 'Seeing through dead eyes' by Jonathan Hay; 'On the 'true body' of Huineng' by Michele Matteini; 'Boxed in' by Miranda Lash; 'Digitalisation' by Boris Groys; and 'Des figures et des categories' by Remo Guidieri.

Full Product Details

Author:   Francesco Pellizzi ,  Thomas Crow ,  Richard Taws ,  Roberto Casati
Publisher:   Peabody Museum of Archaeology & Ethnology,U.S.
Imprint:   Peabody Museum of Archaeology & Ethnology,U.S.
Volume:   v. 55/56
ISBN:  

9780873658546

ISBN 10:   087365854
Pages:   360
Publication Date:   15 January 2010
Audience:   College/higher education ,  Postgraduate, Research & Scholarly
Format:   Paperback
Publisher's Status:   Active
Availability:   Out of stock  
The supplier is temporarily out of stock of this item. It will be ordered for you on backorder and shipped when it becomes available.

Table of Contents

* Editorial * Can the referent abscond with its own representation? The case of Pop Art Thomas Crow * Ivory towers: Obscuring obsolescence in the revolutionary museum Richard Taws * Are shadows transparent? An investigation on white, shadows, and transparency in pictures Roberto Casati * The hidden witness of everything David Doris * Absconding in plain sight: The Ghanian Receptacles of Proverbs revisited Roberta Bonetti * Immanence out of sight: Formal rigor and ritual function in Carl Einstein's Negerplastik Joyce Cheng * A concrete experience of nothing: Paul Sharits's flicker films William Smith * Believing in art Irene Small * Repositories of the unconditional: Gino De Dominicis' Mirror and the work of art as model of immortality Gabriele Guercio * Behind the colonnade: Absconding friezes in Classical Athens Clemente Marconi * The myth of unmade images and the art of absconding Gerhard Wolf * Moving eyes: Surface and shadow in the Byzantine mixed-media relief icon Bissera Pentcheva * Interior motives: Visible bodies and visual erasure in Vierge ouvrante sculpture Melissa Katz * A secret kind of charm not to be expressed or discerned : Early modern engraving technique and its (in)perceptibility Rebecca Zorach * Out of sight, yet still in place. On the use of Italian Renaissance portrait medals as building deposits Minou Schraven * Roma sotterranea and the biogenesis of New Jerusalem Irina Oryshkevich * Style and substance, or why the Cacaxtla paintings were buried Claudia Brittenham * Apparition painting Yukio Lippit * Enlivening the soul in Chinese tombs Wu Hung * Seeing through dead eyes Jonathan Hay * On the true body of Huineng: Image and vision in eighth-century China Lectures, Documents and Discussions Michele Matteini * Boxed in: Imagining the unseen in Matta's cubes Miranda Lash * From micro/macrocosm to the aesthetics of ruins--then onward to the waste-body Jeanette Zwingenberger * Digitalisation: Production of the invisible Boris Groys * Des figures et des categories: Postilla pour Absconding Remo Guidieri

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Author Information

Francesco Pellizzi is Associate of Middle American Ethnology at the Peabody Museum of Archaeology and Ethnology, Harvard University. living in Milan Jonathan Hay is Ailsa Mellon Bruce Professor of Fine Arts at New York University

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