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[null,"1.","Record Nr.",null,"UNINA9910458896503321"]
[null,null,"Autore",null,"Karnes Karen <1925->"]
[null,null,"Titolo",null,"A chosen path [[electronic resource] ] : the ceramic art of Karen Karnes / / edited by Mark Shapiro ; foreword by Garth Clark"]
[null,null,"Pubbl/distr/stampa",null,"Chapel Hill, : University of North Carolina Press, 2010"]
[null,null,"ISBN",null,"0-8078-6813-2"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (192 p.)"]
[null,null,"Disciplina",null,"738.092"]
[null,null,"Soggetti",null,"Art pottery, American - 20th century"]
[{"$nulls":4},"Art pottery, American - 21st century"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","\"This book was published in conjunction with an exhibition at the Arizona State University Art Museum Ceramics Research Center, Tempe, Arizona.\""]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Contents; Foreword: Karen Karnes, Modernist; Curator's Statement; Introduction; Karen Karnes: An American Life in Seven Contrasts; The Woman behind the Pot; Individual and Collective: Karen Karnes and the Twentieth-Century Craft Movement; Her Pot; In Her Own Words; Plates; Exhibition Checklist; Chronology with Selected Exhibitions; Selected Public Collections; Bibliography; Contributors; Acknowledgments; Index"]
[null,null,null,"Sommario/riassunto","Renowned ceramic artist Karen Karnes has created some of the most iconic pottery of the late twentieth and early twenty-first centuries. The body of work she has produced in her more than sixty years in the studio is remarkable for its depth, personal voice, and consistent innovation. Many of her pieces defy category, invoking body and landscape, pottery and sculpture, male and female, hand and eye. Equally compelling are Karnes's experiences in some of the most significant cultural settings of her generation: from the worker-owned cooperative housing of her childhood, to Brooklyn Coll"]
[null,"2.","Record Nr.",null,"UNINA9910793571203321"]
[null,null,"Autore",null,"Szendy Peter"]
[null,null,"Titolo",null,"The Supermarket of the Visible : Toward a General Economy of Images / / Peter Szendy"]
[null,null,"Pubbl/distr/stampa",null,"New York, NY : , : Fordham University Press, , [2019]"]
[{"$nulls":4},"©2019"]
[null,null,"ISBN",null,"0-8232-8347-X"]
[{"$nulls":4},"0-8232-8359-3"]
[null,null,"Descrizione fisica",null,"1 online resource (175 pages)"]
[null,null,"Collana",null,"Thinking Out Loud"]
[null,null,"Disciplina",null,"791.4301"]
[null,null,"Soggetti",null,"Motion pictures - Economic aspects"]
[{"$nulls":4},"Motion pictures - Philosophy"]
[{"$nulls":4},"Semiotics"]
[{"$nulls":4},"Visual perception"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Front matter -- Contents -- one. Money, or The Other Side of Images -- two. The Point of (No) Exchange, or The Debt- Image -- three. Innervation, or The Gaze of Capital -- Merchandise -- Deleted Scenes -- Deleted Scenes -- Photo Gallery -- Locations -- Deleted Scene -- Deleted Scenes -- Deleted Scenes -- Formats -- Credits -- Notes -- Index"]
[null,null,null,"Sommario/riassunto","Already in 1929, Walter Benjamin described “a one hundred per cent image-space.” Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics. The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that “money is the back side of all the images that cinema shows and edits on the front.” Since “cinema,” for Deleuze, is synonymous with “universe,” Szendy argues that this sentence must be "]
[{"$nulls":4},"understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy.Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture."]