02840nam 2200685Ia 450 991082443190332120200520144314.01-280-92558-297866109255820-88920-747-X10.51644/9780889207479(CKB)1000000000247036(EBL)685708(OCoLC)753479521(SSID)ssj0000536659(PQKBManifestationID)11342060(PQKBTitleCode)TC0000536659(PQKBWorkID)10551738(PQKB)10425089(CaPaEBR)402514(CaBNvSL)gtp00521588(OCoLC)794702245(MdBmJHUP)muse17988(Au-PeEL)EBL685708(CaPaEBR)ebr10135325(VaAlCD)20.500.12592/tnbb32(schport)gibson_crkn/2009-12-01/2/402514(MiAaPQ)EBC685708(MiAaPQ)EBC3243717(DE-B1597)667819(DE-B1597)9780889207479(EXLCZ)99100000000024703620011213d2002 uy 0engur|n|---|||||txtccrFiguring redemption resighting my self in the art of Michael Snow /Tila L. Kellman1st ed.Waterloo, Ont. Wilfrid Laurier University Pressc20021 online resource (222 p.)Includes index.1-55458-249-0 0-88920-399-7 Includes bibliographical references: p. 191-195.Figuring Redemption: A Theoretical Frame -- The WALKING WOMAN: Field Test -- Framed: The Return of Sight, Squared -- Returns on Self-Effacement: The Self-Portrait -- Figuring the Field: The Machine, the "Garden," My Self -- "See You Later (Au Revoir)," With Love -- Refiguring Redemption: Resighting My Self."This book explores how the visual art practice of Michael Snow asks the question Who? of the viewers as they interpret what lies before them. Much criticism of Snow objectively analyzes the material interrelationships in his work, ignoring viewer participation, and implicitly giving the artist control of the view. However, what if the "who" is addressed from the perspective of the viewer who is looking across a gap created by concrete representation time, place, experience and, perhaps, gender? How then can it remain objective?"--pub. desc.Self-perception in artSelf-perception in art.709/.2Kellman Tila Landon1943-1611408Snow Michael1929-1753166MiAaPQMiAaPQMiAaPQBOOK9910824431903321Figuring redemption4188801UNINA