Modernist Ruins, Filmic Archaeologies. Jane and Louise Wilson’s 'A Free and Anonymous Monument'

Authors

  • Giuliana Bruno Professor of Visual and Environmental Studies, Harvard University Carpenter Center for the Visual Arts 24 Quincy Street Cambridge, MA 02138

DOI:

https://doi.org/10.14591/aniki.v2n1.145

Keywords:

Jane and Louise Wilson, A Free and Anonymous Monument, Victor Pasmore

Abstract

Translation of the text originally published in Bruno, Giuliana. 2007. “Modernist Ruins, Filmic Archaeologies. Jane and Louise Wilson’s A Free and Anonymous Monument.” In Public Intimacy: Architecture and the Visual Arts, 43-86. Cambridge: MIT Press.

Author Biography

Giuliana Bruno, Professor of Visual and Environmental Studies, Harvard University Carpenter Center for the Visual Arts 24 Quincy Street Cambridge, MA 02138

Giuliana Bruno is Emmet Blakeney Gleason Professor of Visual and Environmental Studies.

Professor Bruno explores the intersections of the visual arts, architecture and the moving image. Her latest book, Surface: Matters of Aesthetics, Materiality, and Media has been published by the University of Chicago Press in 2014, and will be translated in Chinese. Her seminal work Atlas of Emotion: Journeys in Art, Architecture, and Film (Verso, 2002) won the 2004 Kraszna-Krausz Book Award in Culture and History – a prize awarded to "the world's best book on the moving image" – and has provided new directions for visual studies.

References

Baudelaire, Charles (1993). O pintor da vida moderna, trad. Teresa Cruz. Lisboa: Vega.

Bowness, Alan (1980). “Introduction,” in Victor Pasmore: With a Catalogue Raisonné of Paintings, Constructions and Graphics, 1926–1979, ed. Alan Bowness and Luigi Lambertini, 9-17, London: Thames and Hudson.

Burnham, Nigel, and David Harrison. 2000. “Sixties 'concrete bungle' sculpture to be scrapped.” The Sunday Telegraph, July 16.

Bruno, Giuliana. 2002. Atlas of Emotion: Journeys in Art, Architecture, and Film. London: Verso.

Corrin, Lisa. 1999. “In Stereoscopic Vision: A dialogue between Jane & Louise Wilson and Lisa Corrin,” in Jane & Louise Wilson: Stasi City, Gamma, Parliament, Las Vegas, Graveyard Time, ed. Lisa Corrin, 6-15. London: Serpentine Gallery.

Eisenstein, Sergei. 1989. “Montage and Architecture,” Assemblage 10: 111–131.

Giedion, Sigfried. 1962. Space, Time and Architecture. Cambridge: Harvard University Press.

Giedion, Sigfried. 1969. Mechanization Takes Command. New York: Norton.

Kern, Stephen. 1983. The Culture of Time and Space, 1880–1918. Cambridge: Harvard University Press.

Le Corbusier. 1964. Oeuvre complète, vol. 2. Edited by Willi Boesiger. Zurich: Editions Girsberger.

Lee, Pamela M. 1999. Objects to Be Destroyed: The Work of Gordon Matta-Clark. Cambridge: MIT Press.

Millar, Jeremy and Claire Doherty. 2000. Jane and Louise Wilson. London: Film and Video Umbrella.

Robbins, David, ed. 1990. The Independent Group: Postwar Britain and the Aesthetics of Plenty. Cambridge: MIT Press.

Riegl, Alois. 1985. Late Roman Art Industry [1901], trans. Rolf Winkes. Rome: Giorgio Bretschneider Editore.

Riegl, Alois. 1993. Problems of Style: Foundations for a History of Ornament (1893), trans. Evelyn Kain. Princeton: Princeton University Press.

Schjeldahl, Peter. 1999. “V.I.: Jane & Louise Wilson,” in Jane & Louise Wilson: Stasi City, Gamma, Parliament, Las Vegas, Graveyard Time, ed. Lisa Corrin, 4-5. London: Serpentine Gallery.

Polidori, Robert. 2003. Zones of Exclusion: Pripyat and Chernobyl. Göttingen: Steidl.

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Published

2014-12-18

Issue

Vol. 2 No. 1 (2015): Expanded cinema

Section

Special Section