Jonathan Horowitz
And/Or
Mehr zum Buch
The first thorough survey of multimedia artist Jonathan Horowitz Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as "Maxell," in which the name of the now obsolete videotape company is worn down to a VHS blur, and "The Soul of Tammi Terrell," in which 1960s footage of the eponymous pop star singing "Ain't No Mountain High Enough" is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom . Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.
Buchkauf
Jonathan Horowitz, Klaus Biesenbach, Alison M. Gingeras, Elizabeth Peyton, Lionel Bovier, Samuel Taylor Kelly, Jonathan Horowitz
- Sprache
- Erscheinungsdatum
- 2009
- Einband
- (Paperback)
Keiner hat bisher bewertet.
- Titel
- Jonathan Horowitz
- Untertitel
- And/Or
- Sprache
- Englisch
- Autor*innen
- Klaus Biesenbach, Alison M. Gingeras, Elizabeth Peyton, Lionel Bovier, Samuel Taylor Kelly, Jonathan Horowitz
- Verlag
- JRP Ringier
- Erscheinungsdatum
- 2009
- Einband
- Paperback
- Seitenzahl
- 192
- ISBN10
- 3037640189
- ISBN13
- 9783037640180
- Reihe
- Kategorien
- Schlagwörter
- Bildende Kunst, Kunst, USA, Ausstellungskataloge, Kriege, Persönlichkeiten, New York, Medien und Medienkommunikation, Fernsehen, Westeuropa, Schönheit, Angststörungen
- Beschreibung
- The first thorough survey of multimedia artist Jonathan Horowitz Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as "Maxell," in which the name of the now obsolete videotape company is worn down to a VHS blur, and "The Soul of Tammi Terrell," in which 1960s footage of the eponymous pop star singing "Ain't No Mountain High Enough" is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom . Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.