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Relevant bibliographies by topics / Asher, Michael

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Academic literature on the topic 'Asher, Michael'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Asher, Michael"

1

Sekula, Allan, and Alan Sekula. "Michael Asher, Down to Earth." Afterall: A Journal of Art, Context and Enquiry 1 (January 1999): 8–17. http://dx.doi.org/10.1086/aft.1.20711380.

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Gintz, Claude, and Judith Aminoff. "Michael Asher and the Transformation of "Situational Aesthetics"." October 66 (1993): 113. http://dx.doi.org/10.2307/778757.

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Rorimer, Anne. "Remembering Michael Asher at the Art Institute of Chicago, 1982." October 149 (July 2014): 192–98. http://dx.doi.org/10.1162/octo_a_00190.

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The groundbreaking career of Michael Asher, in all of its visual and conceptual diversity, following his death in October 2012, will have to be studied and remembered henceforth by means of published and unpublished documentation. Permanent works by Asher are few, and the installations he realized over a period of more than four decades were, with the occasional fortuitous exception, mainly conceived for temporary exhibitions. In all practicality and in light of ever-shifting institutional circumstances, it is difficult to foresee any re-creation of these exhibitions. Because of each work's attention to and interconnection with the specific circumstances of its site at any one time, the reconstruction of an exhibition remains unlikely.

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Rorimer, Anne, and Ann Rorimer. "Michael Asher: His Work at The Renaissance Society, Chicago." Afterall: A Journal of Art, Context and Enquiry 1 (January 1999): 18–26. http://dx.doi.org/10.1086/aft.1.20711381.

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Buchloh, Benjamin H. D. "Remembering Allan Sekula (1951–2013)." October 148 (May 2014): 133–42. http://dx.doi.org/10.1162/octo_a_00178.

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Having just recently returned from a rare visit to Los Angeles, and wondering about the city's loss of Michael Asher and Allan Sekula in the past year and a half, I was suddenly struck by the idea that these artists must have made gargantuan efforts in that environment on a daily—if not hourly—basis to sustain their conviction in the viability of their practices. After all, the near-total erasure of any remnant of conventional structures of subjectivity and the dissolution of even the last residual spatial forms of the public sphere could hardly reach a more decisive state.

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King, Jennifer. "Perpetually Out of Place: Michael Asher and Jean-Antoine Houdon at the Art Institute of Chicago." October 120 (April 2007): 71–86. http://dx.doi.org/10.1162/octo.2007.120.1.71.

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Schwartz, Nancy L. "The Elections in Israel 1992.Asher Arian , Michal Shamir." Journal of Politics 58, no. 2 (1996): 596–97. http://dx.doi.org/10.2307/2960259.

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8

Franco Diniz, Telma, Marina Della Valle, John Milton, and Álvaro Faleiros. "Entrevista com Nelson Ascher." Cadernos de Literatura em Tradução, no. 11 (May 1, 2010): 317–51. http://dx.doi.org/10.11606/issn.2359-5388.i11p317-351.

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A trajetória da juventude de Nelson Ascher (1958), com passagem por faculdades direcionadas ao mercado profissionalizante, não sugeria que ele tomaria o rumo que afinal tomou. Mas desde os dez anos de idade ele já sabia o que queria ser: escritor. Desde os catorze, o que viria a ser: poeta. Na entrevista a seguir, Ascher fala do gosto pela leitura adquirido em menino com as histórias contadas pela mãe, pai e avós, húngaros de nascimento. Tradutor prolífico e poeta renomado, ele já se viu várias vezes envolvido em polêmicas de alto teor literário-ideológico. Com bom humor e erudição, nosso entrevistado revisita estes e vários outros temas, além de revelar como seu processo de criação e tradução poética envolve a passagem por um estágio de obsessão. Como poeta Ascher lançou, entre outros, Algo de Sol (1996) e Parte Alguma (2005). Suas traduções estão reunidas em O lado obscuro (1996) e Poesia Alheia (1998). Organizou com Régis Bonvicino e Michael Palmer a antologia Nothing the Sun could not explain: 20 Contemporary Brazilian Poets (1997). Transitando com fluência por Horácio, Yeats, Ginsberg, Apollinaire, Pessoa, Vinícius, Drummond e Caetano, entre outros, Nelson Ascher conta que o que ele mais gostaria de fazer hoje seria trabalhar, em parceria com poetas de língua inglesa, numa grande antologia de poesia brasileira. Nosso aparente monumento de papel crepom e prata seria, então, mais duradouro que o bronze, menos biodegradável que o plutônio, imune à chuva ácida.

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9

Momcilovic, Drago. "Music Video Gothic: Fragmentary Form at the Dawn of MTV." Gothic Studies 23, no. 2 (2021): 148–62. http://dx.doi.org/10.3366/gothic.2021.0091.

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This article argues that the modern music video at the dawn of the MTV era embraces a logic of the Gothic fragment. Mobilizing an archive of gothic archetypes of haunting and monstrosity, the music video of the early 1980s confronts anxieties about its unshaped aesthetic character and discursive placelessness and its strained connections to absent textual wholes, performance cultures, and marginalized histories. Through a close reading of four seminal music videos from this time period – The Buggles' Video Killed the Radio Star (1979), David Bowie's Ashes to Ashes (1980), Blondie's Rapture (1981), and Michael Jackson's Thriller (1983) – I argue that the early music video incarnates a tradition of production, circulation, and decoding that I want to call Music Video Gothic. This tradition expresses latent concerns about the music video's aesthetic borders and intertextual relations with cultural and career narratives.

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10

Satlow, Michael L. "Early Christian Monastic Literature and the Babylonian Talmud by Michal Bar-Asher Siegal." Journal of Early Christian Studies 24, no. 2 (2016): 295–96. http://dx.doi.org/10.1353/earl.2016.0022.

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Dissertations / Theses on the topic "Asher, Michael"

1

Laufer, Henri. "La libre circulation des jugements dans une union judiciaire : une idée géniale de T. M. C. Asser, visionnaire de la Convention de Bruxelles /." Berne ;Berlin [u.a.] : Lang, 1992. http://www.gbv.de/dms/spk/sbb/recht/toc/271846054.pdf.

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Reese, Emily. "Attractive Oblivions: Identity, Queer Theory, and Heterotopias in Ari Aster’s Midsommar and Margaret Atwood’s The Heart Goes Last." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588779950446869.

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Reese, Trevor. "Only the lull I like, the hum of your valved voice." 2016. http://scholarworks.gsu.edu/art_design_theses/206.

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The intent of this thesis is to clarify my artistic working process as well as the resulting thesis exhibition, Only the lull I like, the hum of your valved voice. I will provide explanations and descriptions of my exhibition (comprising a select placement of objects) as well as offer antecedents, informants, and the evolution of my art practice as a whole during my graduate studies. Specifically the work is discussed through the lenses of situational aesthetics, conceptual relationships, and perceptual absence to argue for the complicated semantics of the viewer within an ontology of object-hood and pre-established conditions.

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4

Lin, Chen-chu, and 林珍曲. "Rising from Ashes: Trauma and Recovery in Michael Ondaatje’s The English Patient." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/18507628011560250683.

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碩士
國立高雄師範大學
英語學系
101
ABSTRACT Written by the noted immigrant writer, Michael Ondaatje, The English Patient is undoubtedly one of the brilliant novels that probe into the issue of national boundaries. Owing to the Second World War, the four characters with respective past trauma and regret arrives at an abandoned mountain city in Italy. Through Almacy’s intersubjectivity to see each other and mutual cure by stating the past, they eventually find the way to redeem themselves. At the initial stage, the protagonists face the war and trauma with indifference; though being alive, they seem like the walking dead. Afterwards they respectively recollect the most agonizing pain that they have experienced, and then successfully rise from death to rebirth. The English Patient discards conventional dualism, and employs the technique of illusion and reality, and further crosses the boundaries of time, space, ethnic, races, and culture. Most of all, it inspires readers to wander among the beauty of words and visual arts, and go along the road to self-recovery. This thesis is divided into five chapters. Chapter One introduces the background of Michael Ondaatje and The English Patient, and defines the real patient on the basis of psychology and physiology. Chapter Two discusses the theoretical framework of trauma, aiming to probe into the origins and symptoms of the protagonist’s trauma. In Chapter Three, the four grieving tasks and group psychotherapy that help protagonists recover from their trauma and complete the therapy are explored. Chapter Four expounds the art therapy on perished souls, transformation of protagonists, and process of rebirth. Chapter Five is Conclusion, which summarizes the previous chapters, and argues that literary works provide ways and illustrations in this changing world, as well as present self-transcendency of authors, roles of art, and readers.

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Books on the topic "Asher, Michael"

1

Leen, Frederik. Michael Asher. Le Nouveau Musée, 1991.

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Ulrich, Loock, and Kunsthalle Bern, eds. Michael Asher. Kunsthalle Bern, 1995.

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3

Michael, Asher, ed. Situation aesthetics: The work of Michael Asher. MIT Press, 2010.

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4

Moeller, Whitney. Michael Asher: George Washington at the Art Institute of Chicago, 1979 and 2005. Yale University Press, 2007.

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University of Chicago. Renaissance Society., ed. Michael Asher: The Renaissance Society, University of Chicago, January 21-March 4, 1990. The Renaissance Society, 1991.

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6

Des relations édifiantes: Essai sur Asher, Le Bernin, Botta, Buren, LeWitt, Michel-Ange, Nouvel, Tschumi--. Impressions nouvelles, 1992.

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7

Schwarz, Dieter, Birgit Pelzer, and Ulrich Loock. Michael Asher. Kunsthalle Bern, 1996.

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8

Pelzer, Birgit, and Frederik Leen. Michael Asher. Art Books Intl Ltd, 1996.

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9

Michael Asher Afterall. Afterall Books, 2012.

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Michael Asher Afterall. Afterall Books, 2012.

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Book chapters on the topic "Asher, Michael"

1

"Zeit und Sichtbarkeit bei Michael Asher." In Zeigen. Wilhelm Fink Verlag, 2010. http://dx.doi.org/10.30965/9783846750094_016.

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2

"Conceptualizations: Michael Asher and the Subject of Space." In Background Noise. Bloomsbury Academic, 2015. http://dx.doi.org/10.5040/9781501309106.ch-008.

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3

Kwon, Miwon. "Approaching Architecture: The Cases of Richard Serra and Michael Asher." In Contemporary Art About Architecture. Routledge, 2017. http://dx.doi.org/10.4324/9781315095424-3.

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4

Nadel, Ira. "Supercarnal Productions." In Philip Roth. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199846108.003.0009.

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Anchoring this chapter is Philip Roth’s London life with Bloom and a set of new friends: Al Alvarez, critic, Harold Pinter, playwright, R. B. Kitaj, painter, Michael Herr, journalist, and Edna O’Brien, novelist. Roth enjoyed a culturally rich and satisfying life with Bloom, while working on The Professor of Desire. But he soon sensed the fraying of his relationship as Bloom became increasingly dependent on her daughter, the opera singer Anna Steiger. He soon began to work on adaptations, principally for Bloom but also for himself: one early attempt was his effort to adapt Eugenia Ginzburg’s Journey into the Whirlwind, her Gulag autobiography. Another, new development was Roth’s involvement with Janet Hobhouse, novelist, their affair transposed to The Counterlife. And by the late 1970s, Roth turned to the experiences of an isolated writer in the countryside and the impact of the Holocaust through the possible afterlife of Anne Frank expressed in The Ghost Writer. Roth’s relationship with the New Yorker editor Veronica Geng and the continued importance of his editor Aaron Asher are also formidable figures. Comments on Roth’s enigmatic relationship with his mother (who died suddenly in 1981) end the chapter but not before a detailed accounting of Roth’s many illnesses (including a 1989 quintuple bypass) and the debilitating impact of illness on his physical and mental health.

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5

"Appendix 2 Identifiable Provenance of Works Deaccessioned from MoMA, 1929–1998, According to the Original Checklist in Painting and Sculpture from the Museum of Modern Art: Catalog of Deaccessions 1929 through 1998 by Michael Asher." In Deaccessioning and Its Discontents. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/11615.003.0017.

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6

Baumel-Schwartz, Judith Tydor. "Michal Shaul, Pe’er taḥat ’efer: haḥevrah haḥaredit beyisrael betzel hashoah 1945–1961 (Beauty for Ashes: Holocaust Memory and the Rehabilitation of Ashkenazi Haredi Society in Israel 1945–1961). Jerusalem: Yad Vashem and Yad Yitzhak Ben-Zvi, 2014. 492 pp." In A Club of Their Own. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190646127.003.0019.

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