LEADER 03079nam 22005655 450 001 9910162713803321 005 20230126214940.0 010 $a0-226-37033-X 024 7 $a10.7208/9780226370330 035 $a(CKB)3710000001032960 035 $a(MiAaPQ)EBC4789524 035 $a(StDuBDS)EDZ0001640050 035 $a(DE-B1597)524917 035 $a(OCoLC)970658257 035 $a(DE-B1597)9780226370330 035 $a(EXLCZ)993710000001032960 100 $a20191022d2017 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aPhotography, Trace, and Trauma /$fMargaret Iversen 210 1$aChicago : $cUniversity of Chicago Press, $d[2017] 210 4$dİ2017 215 $a1 online resource (170 pages) 300 $aPreviously issued in print: 2017. 311 $a0-226-37016-X 311 $a0-226-37002-X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $t1. Exposure -- $t2. Indexicality: A Trauma of Signification -- $t3. Analogue: On Zoe Leonard and Tacita Dean -- $t4. Casting, Rubbing, Making Strange -- $t5. Index, Diagram, Graphic Trace -- $t6. The "Unrepresentable" -- $t7. Invisible Traces: Postscript on Thomas Demand -- $tNotes -- $tBibliography -- $tIndex 330 $aPhotography is often associated with the psychic effects of trauma: the automatic nature of the process, wide-open camera lens, and light-sensitive film record chance details unnoticed by the photographer-similar to what happens when a traumatic event bypasses consciousness and lodges deeply in the unconscious mind. Photography, Trace, and Trauma takes a groundbreaking look at photographic art and works in other media that explore this important analogy. Examining photography and film, molds, rubbings, and more, Margaret Iversen considers how these artistic processes can be understood as presenting or simulating a residue, trace, or "index" of a traumatic event. These approaches, which involve close physical contact or the short-circuiting of artistic agency, are favored by artists who wish to convey the disorienting effect and elusive character of trauma. Informing the work of a number of contemporary artists-including Tacita Dean, Jasper Johns, Mary Kelly, Gabriel Orozco, and Gerhard Richter-the concept of the trace is shown to be vital for any account of the aesthetics of trauma; it has left an indelible mark on the history of photography and art as a whole. 606 $aPhotography$xSocial aspects 610 $aanalogue. 610 $achance. 610 $adigitization. 610 $aexposure. 610 $aindexicality. 610 $aphotography. 610 $atrace. 610 $atrauma. 615 0$aPhotography$xSocial aspects. 676 $a770 700 $aIversen$b Margaret, $0751816 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910162713803321 996 $aPhotography trace and trauma$91511311 997 $aUNINA