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In Tracey Warr’s essay, ‘Image as Icon: Recognising the Enigma’, she identifies and discusses four discourses of performance photography–the document, the icon, the simulacrum and the live act–and what is at stake in these discourses is the ‘truth’. (more…)

Starry Night is perhaps Van Gogh’s most popular painting. He completed the painting in June 1889, while undergoing treatment at the St. Remy de Provence mental asylum, a little over a year before his untimely and tragic suicide at the age of 37. (more…)

Beginning with Michael Fried’s arguments in his 1967 essay ‘Art and Objecthood’, consider how the status of the art object (painting, sculpture, installation, etc.) has changed over the last thirty-five years within Art History and fine practice. (more…)

The term ‘Modernism’ relies upon notions of progress in that it is defined by an ‘artistic and literary superiority of moderns over ancients’. The ‘modern’ era enjoyed scientific, technological and social progress, whilst the uncivilized and primitive past was very much left behind. (more…)

Viola pays extreme attention to the response of the viewers, and therefore is deeply concerned about the way his works are experienced: I was very happy when Bob Stein, an LA media entrepreneur guy, approached me and my colleagues in the early 70’s and 80’s to release our work on VHS tape so people could take it home. (more…)

Even though experiments in photography and cinema can be detected since the very birth of these forms of communication, it took a long time before artists could fully understand all their potentialities. In fact, both the still and the moving image were regarded as a means to record time or to help define a collective or one’s own personal memory. (more…)