By Mary Savig
Handmade vacation Cards indicates how artists imagined the vacations via unique watercolors, etchings, silk-screen prints, and drawings. hardly ever noticeable past the eyes in their recipients, those playing cards ensure the irrepressible artistry in their senders. It deals own perception into the fashion and sentiment of artists, together with how they summed up the year's occasions of their personal lives and the realm within which they lived.
The advent through data professional Mary Savig explores the intersections among advertisement vacation playing cards and the artwork world--how vacation playing cards have been first advertised as "affordable art" and the way promoting their paintings to card businesses frequently supplied source of revenue for artists in lean occasions. She then opens up the extra intimate dimensions of an artist's social community, illuminating their relationships with buyers, curators, lecturers, and shut acquaintances. Captions introduce every one artist, examine or distinction the vacation card to his/her physique of labor, and talk about the connection to the recipient whilst relevant.
Handmade vacation playing cards illustrates and contextualizes a vast variety of exclusive works of art or restricted version print sequence via famous artists comparable to Josef Albers, Milton Avery, Alexander Calder, Robert Indiana, John Lennon and Yoko Ono, Robert Motherwell, Nickolas Muray, and advert Reinhardt. it's going to attract a person drawn to greeting playing cards, ephemeral paintings, illustrated correspondence, and the historical past of yank paintings.
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In breve, il neo-noir mette in scena direttamente il contenuto fantasmatico cui il noir classico accennava soltanto o che sottintendeva in modo convenzionale. In questo caso, è emblematico il pastiche neo-noir di Oliver Stone U-Turn in cui vi sono incesti, una figlia che uccide la madre per sedurre il padre, ecc. Tuttavia, è sorprendente che questa trasgressione diretta, la rappresentazione immediata dei fantasmi perversi nascosti, renda innocuo il loro impatto sovversivo, una nuova conferma della vecchia tesi freudiana secondo cui la perversione non è sovversiva: non vi è nulla di effettivamente sovversivo se il perverso mette direttamente in scena i propri fantasmi denegati.
In letteratura, il miglior esempio del compimento di tale atto è ovviamente Medea. [8] Seguendo questa falsariga è forse anche possibile interpretare la particolare figura di femme fatale nel nuovo noir degli anni ’90 (si pensi, per esempio, al personaggio interpretato da Linda Fiorentino in L’ultima seduzione di John Dahl). Contrariamente alla femme fatale del noir classico degli anni ’40, che resta una presenza spettrale e sfuggente, la nuova femme fatale si distingue per un’aggressività sessuale diretta e franca, sia verbale che fisica, e attraverso la mercificazione di se stessa: ha cioè “la mente di un ruffiano nel corpo di una puttana”; come recita lo slogan della locandina del film: “Molte persone possiedono un lato oscuro… lei non aveva che quello”.
Traduzione di Damiano Cantone e Lorenzo Chiesa � 2011 – Mimesis Edizioni (Milano – Udine) Collana: Minima/Volti n. it Lenin amava sottolineare come si possano spesso ottenere rivelazioni fondamentali sulle proprie debolezze grazie alle intuizioni di nemici intelligenti. Perciò, dato che questo saggio tenta una lettura lacaniana di Strade perdute di David Lynch, potrebbe essere utile cominciare con un accenno alla “post-teoria”, recente orientamento della critica cinematografica in senso cognitivista che rifiuta in modo categorico la critica cinematografica lacaniana.