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Pregled bibliografske jedinice broj: 739035

Anti-image or Absolute Image? The Painting by Julije Knifer in the Age of Digital Reproduction


Purgar, Krešimir
Anti-image or Absolute Image? The Painting by Julije Knifer in the Age of Digital Reproduction // Postmedia and Non-Institutional Art Practices from the 60s Onwards / Križić Roban, Sandra ; Kovač, Leonida (ur.).
Zagreb: Institut za povijest umjetnosti, 2014. str. 25-25 (pozvano predavanje, nije recenziran, sažetak, znanstveni)


Naslov
Anti-image or Absolute Image? The Painting by Julije Knifer in the Age of Digital Reproduction

Autori
Purgar, Krešimir

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
Postmedia and Non-Institutional Art Practices from the 60s Onwards / Križić Roban, Sandra ; Kovač, Leonida - Zagreb : Institut za povijest umjetnosti, 2014, 25-25

ISBN
978-953-7875-24-4

Skup
Postmedijske i izvaninstitucionalne umjetničke ptakse od 60-ih na dalje

Mjesto i datum
Zagreb, Hrvatska, 28-29. 11. 2014

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Nije recenziran

Ključne riječi
Anti-slika ; apsolutna slika ; modernističko slikarstvo ; fenomenologija ; ikonička razlika
(Anti-image ; absolute image ; modernist painting ; phenomenology ; iconic difference)

Sažetak
Julije Knifer repeatedly spoke and wrote that his goal was to create an ‘anti- image’ – the absolute absence of meaning, symbolism and pictoriality, as his meanders should have only been compared to pure ‘visuality’. Since ‘anti- image’ is a concept that etymologically and semantically brings to mind two endpoints in the existence of an idea or object – in this case it is the difference between the image and what is not an image – my fundamental interest in this paper will be to understand the internal logic of the concept of anti-image on the one side and to disclose the inherent polarities which it supposedly carries on the other. All this should contribute to the understanding of both specific Knifer’s artistic strategies and still unresolved questions posed by theory of painting in general. I’ll try to advance the thesis that Knifer’s paintings (‘the meanders’) can be considered anti-images only from the standpoint of art- historical hermeneutics, that is, as evidences of what Filiberto Menna called ‘the analytical line of modern art’. In contrast, when it comes to understanding Knifer’s paintings as pure visual facts or visual phenomena, then we are confronted with the episteme that I would like to call the ‘absolute image’, that is, a moment in which the difference between image and everything else which is not an image comes to the fore in the most prominent way.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti



POVEZANOST RADA


Ustanove
Umjetnička akademija, Osijek

Autor s matičnim brojem:
Krešimir Purgar, (336865)