Carolee Schneemann的声波阴影

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

CAMERA OBSCURA Pub Date : 2021-09-01 DOI:10.1215/02705346-9052858

P. Phelan

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引用次数: 0

摘要

这篇纪念文章考虑了Carolee Schneemann通过表演话语和书面文字表达的声音，特别关注《室内卷轴》(1975)。这篇文章认为，作为体验作品的主要手段，表演的照片记录，是以对施奈尔曼声音的关注为代价的。这篇文章通过与艺术家去世后的悲伤过程有关的有限记录，反映了唤起施奈尔曼声音的工作。这篇文章认为，施奈尔曼的“声音阴影”是通过肯定的哀悼出现的。这篇文章最初是为2019年5月3日在纽约贾德森纪念教堂举行的Schneemann追悼会而写的。

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Carolee Schneemann's Sonic Shadow

This commemorative essay considers Carolee Schneemann's voice as expressed through performative utterances and written words, with particular focus on Interior Scroll (1975). The essay argues that the performance's documentation in photographs, the primary means of experiencing the work, has come at the expense of attention to Schneemann's voice. The essay reflects on the work of evoking Schneemann's voice through limited records in relation to the process of grief following the artist's death. Schneemann's “sonic shadow,” the essay argues, emerges through affirmative mourning. The essay was composed originally for the memorial service for Schneemann at Judson Memorial Church, New York, on 3 May 2019.

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来源期刊

CAMERA OBSCURA FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.