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03487aam a2200361 i 4500 001 9D8B0AF0FC8011EE9ABF7B513DECA4DB 003 SILO 005 20240417010124 008 230317t20232023enka b 001 0 eng d 020 $a 1913620972 020 $a 9781913620974 035 $a (OCoLC)1374561047 040 $a ERASA $b eng $e rda $c ERASA $d IQU $d RBN $d OCLCO $d YDX $d CDX $d OCLCO $d NUI $d SILO 050 4 $a N7445.2 $b .A76 2023 082 04 $a 111/.85 $2 23 082 04 $a 709 $2 23 100 1 $a Armstrong, Carol M., $e author. 240 10 $a Essays. $k Selections 245 10 $a Painting photography painting : $b selected essays / $c Carol Armstrong. 250 $a First edition. 264 1 $a [London] : $b MACK, $c [2023] 300 $a 381 pages : $b illustrations ; $c 23 cm 520 $a "'Painting photography painting' is the essential first collection of essays by critic and theorist Carol Armstrong, bringing together writings encompassing the many inflection points of her academic work, including French painting, early photography, feminist theory, and the representation of women and gender in the visual arts. In the book's titular essay, Armstrong asks of Ellen Gallagher's 2008 painting 'An Experiment of Unusual Opportunity,' which depicts a barely-visible sea creature created out of ink, graphite, oil, varnish, and variously sliced paper, 'in what sense is this a painting exactly?' This enquiry into the very essence of the medium provides a thread that runs throughout the book's wide-ranging essays and ties together a variety of works on paper 'inscribed, drawn, printed, photographed, and variously pierced and punctured'. Considering these various works, 'Painting Photography Painting' provides a compelling path through Armstrong's decades of writing, weaving together figures from across the nineteenth and twentieth centuries including Helen Frankenthaler, Paul Cezanne, Ellen Gallagher, Georges Seurat, Julia Margaret Cameron, Tina Modotti, and Diane Arbus in a single, illuminating volume" -- $c Back cover. 504 $a Includes bibliographical references and index. 505 00 $t Credits. $t The reflexive and the possessive view : thoughts on KerteÌsz, Brandt and the photographic nude -- $t Biology, destiny, photography : difference according to Diane Arbus -- $t Cupid's pencil of light : Julia Margaret Cameron and the maternalization of photography -- $t From Clementina to KaÌsebier : the photographic attainment of the "lady amateur" -- $t This photography which is not one : in the gray zone with Tina Modotti -- $t Cameraless : from natural illustrations and nature prints to manual and photogenic drawings and other botanographs -- $t Still life set piece -- $t Women on paper -- $t Automatism and agency intertwined : the spectrum of photographic intentionality -- $t Ellen Gallagher : Mythopoetics and materials -- $t Seurat's media : or, a matrix of materialities -- $t Painting photography painting : timelines and medium specificities -- $t Helen Frankenthaler's syzygy : line into color, color into line -- $t This CeÌzanne which is not one -- $t Ellen Gallagher : ecstatic draught of fishes -- $t Brandt's haptic eye : perspective of nudes -- $t Credits. 650 0 $a Art criticism. 650 0 $a Art, Modern. 655 7 $a Essays. $2 lcgft 655 7 $a Art criticism. $2 lcgft 655 7 $a Critiques d'art. $2 rvmgf $0 (CaQQLa)RVMGF-000001963 941 $a 1 952 $l OVUX522 $d 20240417024332.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9D8B0AF0FC8011EE9ABF7B513DECA4DBInitiate Another SILO Locator Search