The event of art
It was a few days after 9/11 that I met Marc La a for the rst time. We were both enrolled in a residency program at the Atlantic Center for the Arts, which was located on an idyllic estuary in the middle of Florida, oddly enough only a stone’s throw from where the pilots of the World Trade Center tr...
- Autores:
- Tipo de recurso:
- Book
- Fecha de publicación:
- 2020
- Institución:
- Universidad de Bogotá Jorge Tadeo Lozano
- Repositorio:
- Expeditio: repositorio UTadeo
- Idioma:
- eng
- OAI Identifier:
- oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/15796
- Acceso en línea:
- https://library.oapen.org/handle/20.500.12657/41555
http://hdl.handle.net/20.500.12010/15796
- Palabra clave:
- Art
Arte
Arte - Técnica
Arte - Anécdotas
- Rights
- License
- Abierto (Texto Completo)
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dc.title.spa.fl_str_mv |
The event of art |
title |
The event of art |
spellingShingle |
The event of art Art Arte Arte - Técnica Arte - Anécdotas |
title_short |
The event of art |
title_full |
The event of art |
title_fullStr |
The event of art |
title_full_unstemmed |
The event of art |
title_sort |
The event of art |
dc.subject.spa.fl_str_mv |
Art |
topic |
Art Arte Arte - Técnica Arte - Anécdotas |
dc.subject.lemb.spa.fl_str_mv |
Arte Arte - Técnica Arte - Anécdotas |
description |
It was a few days after 9/11 that I met Marc La a for the rst time. We were both enrolled in a residency program at the Atlantic Center for the Arts, which was located on an idyllic estuary in the middle of Florida, oddly enough only a stone’s throw from where the pilots of the World Trade Center tragedy were trained. There were about ten of us, and many, like myself, had come down in a state of shell-shock from NYC. Marc hailed from San Francisco and seemed like an only child away at camp for the rst time. As we mutated between a state of disbelief and despair, our evenings were occupied by alcohol-soaked group critiques, whereby we’d o er up our work to one another. Marc, at his own bequest, was one of the rst to present. His lm occupied more time than anyone had patience for and was not only monotonous, hard to understand, and droning to the brink of being annoying, but also, given the global atmosphere and my state of mind, brilliantly razor-sharp in message and form. In the aftermath of 9/11, incessant replaying of destruction footage gave scholars and the public alike enough fodder to examine our schizophrenic, subservient, and often submissive relationship to images. What had been anticipated time and time again in cinema and the public’s visual imagination had now been actualized. La a’s aptly titled Confessions of an Image consists of twenty-one short visual and audio essays that interrogate the history, production, distribution and consumption of the photographic image. A series of scratchy and often blurry images captured by his Canon Elph – the ultimate point-and-shoot, which dominated La a’s practice for many years – plods along to a monologue of the artist himself belligerently ponti cating (from what sounds like from far out in the universe) about electromagnetic light crisscrossing the planet. |
publishDate |
2020 |
dc.date.accessioned.none.fl_str_mv |
2020-11-18T20:09:47Z |
dc.date.available.none.fl_str_mv |
2020-11-18T20:09:47Z |
dc.date.created.none.fl_str_mv |
2020 |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_2f33 |
format |
http://purl.org/coar/resource_type/c_2f33 |
dc.identifier.isbn.none.fl_str_mv |
13: 978-1-950192-98-4 |
dc.identifier.other.none.fl_str_mv |
https://library.oapen.org/handle/20.500.12657/41555 |
dc.identifier.uri.none.fl_str_mv |
http://hdl.handle.net/20.500.12010/15796 |
dc.identifier.doi.none.fl_str_mv |
10.21983/P3.0275.1.00 |
identifier_str_mv |
13: 978-1-950192-98-4 10.21983/P3.0275.1.00 |
url |
https://library.oapen.org/handle/20.500.12657/41555 http://hdl.handle.net/20.500.12010/15796 |
dc.language.iso.spa.fl_str_mv |
eng |
language |
eng |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.local.spa.fl_str_mv |
Abierto (Texto Completo) |
dc.rights.creativecommons.none.fl_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0/ |
rights_invalid_str_mv |
Abierto (Texto Completo) https://creativecommons.org/licenses/by-nc-sa/4.0/ http://purl.org/coar/access_right/c_abf2 |
dc.format.extent.spa.fl_str_mv |
797 páginas |
dc.format.mimetype.spa.fl_str_mv |
application/pdf |
dc.publisher.spa.fl_str_mv |
Punctum books |
institution |
Universidad de Bogotá Jorge Tadeo Lozano |
bitstream.url.fl_str_mv |
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15796/1/0275.1.00.pdf https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15796/2/license.txt https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15796/3/0275.1.00.pdf.jpg |
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bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositorio Institucional - Universidad Jorge Tadeo Lozano |
repository.mail.fl_str_mv |
expeditio@utadeo.edu.co |
_version_ |
1818152586978525184 |
spelling |
2020-11-18T20:09:47Z2020-11-18T20:09:47Z202013: 978-1-950192-98-4https://library.oapen.org/handle/20.500.12657/41555http://hdl.handle.net/20.500.12010/1579610.21983/P3.0275.1.00It was a few days after 9/11 that I met Marc La a for the rst time. We were both enrolled in a residency program at the Atlantic Center for the Arts, which was located on an idyllic estuary in the middle of Florida, oddly enough only a stone’s throw from where the pilots of the World Trade Center tragedy were trained. There were about ten of us, and many, like myself, had come down in a state of shell-shock from NYC. Marc hailed from San Francisco and seemed like an only child away at camp for the rst time. As we mutated between a state of disbelief and despair, our evenings were occupied by alcohol-soaked group critiques, whereby we’d o er up our work to one another. Marc, at his own bequest, was one of the rst to present. His lm occupied more time than anyone had patience for and was not only monotonous, hard to understand, and droning to the brink of being annoying, but also, given the global atmosphere and my state of mind, brilliantly razor-sharp in message and form. In the aftermath of 9/11, incessant replaying of destruction footage gave scholars and the public alike enough fodder to examine our schizophrenic, subservient, and often submissive relationship to images. What had been anticipated time and time again in cinema and the public’s visual imagination had now been actualized. La a’s aptly titled Confessions of an Image consists of twenty-one short visual and audio essays that interrogate the history, production, distribution and consumption of the photographic image. A series of scratchy and often blurry images captured by his Canon Elph – the ultimate point-and-shoot, which dominated La a’s practice for many years – plods along to a monologue of the artist himself belligerently ponti cating (from what sounds like from far out in the universe) about electromagnetic light crisscrossing the planet.797 páginasapplication/pdfengPunctum booksArtArteArte - TécnicaArte - AnécdotasThe event of artAbierto (Texto Completo)https://creativecommons.org/licenses/by-nc-sa/4.0/http://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_2f33Lafia, MarcORIGINAL0275.1.00.pdf0275.1.00.pdfVer libroapplication/pdf150993727https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15796/1/0275.1.00.pdfe01da71aca5c7586afa8abb11f2940ffMD51open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15796/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open accessTHUMBNAIL0275.1.00.pdf.jpg0275.1.00.pdf.jpgIM Thumbnailimage/jpeg24987https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/15796/3/0275.1.00.pdf.jpg98cecb3f6bbe2fb55db4e2b4eedb8fe1MD53open access20.500.12010/15796oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/157962021-02-25 21:27:52.997open accessRepositorio Institucional - Universidad Jorge Tadeo Lozanoexpeditio@utadeo.edu.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 |