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Rod Mengham's new offering comprises two complementary halves: a poetic meditation on a place (the Bronze Age site of Grimspound on Dartmoor); and a series of short essays on different cultural habitats. Grimspound is a four-part work combining prose and verse, composed on site over the course of ten years. It combines a 'wild analysis' of Hound of the Baskervilles (whose climactic scene takes place at Grimspound), a portrait of the Victorian excavator Sabine Baring-Gould, and a series of poems that draw on the Russian linguist Aharon Dolgopolsky's experimental Nostratic Dictionary. Inhabiting Art gathers essays on cultural history in relation to landscape and cityscape, viewed either episodically or in the form of a palimpsest, where the present state of the habitat both reveals and conceals its own history and prehistory.
This book occurs at the intersection of philosophy, critical theory, psychoanalysis and the visual arts. Each chapter looks at art produced in various traumatogenic cultures: detention centres, post-Holocaust film, autobiography and many more.Other chapters look at the Juarez femicides, the production of collective memory, of makeshift memorials, acts of forgiveness and contemporary forms of trauma. The book proposes new ways of 'thinking trauma', foregrounding the possibility of healing and the task that the critical humanities has to play in this healing. Where is its place in an increasingly terror-haunted world, where personal and collective trauma is as much of an everyday occurrence as it is incomprehensible? What has become known as the 'classical model of trauma' has foregrounded the unrepresentability of the traumatic event. New, revisionist approaches seek to move beyond an aporetic understanding of trauma, investigating both intersubjective and intrasubjective psychic processes of healing. Traumatic memory is not always verbal and 'iconic' forms of communication are part of the arts of healing.
In the hands of such writers as Rebecca Solnit, Claudia Rankine, David Shields, Zadie Smith and many others, the essay has re-emerged as a powerful literary form for tackling a fractious 21st-century culture. The Essay at the Limits brings together leading scholars to explore the theory, the poetics and the future of the form. The book links the formal innovations and new voices that have emerged in the 21st-century essay to the history and theory of the essay. In so doing, it surveys the essay from its origins to its relation to contemporary cultural forms, from the novel to poetry, film to music, and from political articles to intimate lyrical expressions. The book examines work by writers such as: Theodor W. Adorno, Kwame Anthony Appiah, Francis Bacon, James Baldwin, Roland Barthes, Maurice Blanchot, Ta-Nehisi Coates, Annie Dillard, Brian Dillon, Jean Genet, William Hazlitt, Samuel Johnson, Karl Ove Knaussgaard, Ben Lerner, Audre Lorde, Oscar Wilde, Michel de Montaigne, Zadie Smith, Rebecca Solnit, Wallace Stevens, Eliot Weinberger and Virginia Woolf.
Midnight in the Kant Hotel is an absorbing account of contemporary art, composed over twenty years. The essays revisit the same artists as they develop, following them in time, changing perspectives as he, and they, develop. Mengham is a significant curator, organising exhibitions: 'There is no more productive engagement with someone else's artworks than finding the right way to show it, since artworks are always direct statements or questions about articulations of space, and the curator's job obviously is to enhance such questions and statements.' This discipline gives the writer a series of uniquely privileged perspectives, touching, lifting, moving and re-moving the objects: 'nothing compares to living with art'. The book opens with themes: what is domestic space? what does the atrocity exhibition tell us? what is the refugee aesthetic? Essays on particular artists follow, including Marc Atkins, Stephen Chambers, Jake and Dinos Chapman, Tony Cragg, Antony Gormley, Damien Hirst, Ilya and Emilia Kabakov, Anselm Kiefer, Laura Owens, Doris Salcedo, Agnes Thurnauer, Koen Vanmechelen and Alison Wilding. Always, he is in dialogue with the work, rather than with the artist.
List of members in each volume.
List of members in each volume.