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More Than One Picture : An Art History of the Hyperimage by Felix Thurlemann (2019, Trade Paperback)
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About this product
Product Identifiers
PublisherGetty Publications
ISBN-101606066250
ISBN-139781606066256
eBay Product ID (ePID)8038666916
Product Key Features
Number of Pages240 Pages
Publication NameMore than One Picture : an Art History of the Hyperimage
LanguageEnglish
Publication Year2019
SubjectArt, Study & Teaching, Museum Studies, Collections, Catalogs, Exhibitions / General, General
TypeTextbook
Subject AreaArt, Antiques & Collectibles
AuthorFelix Thurlemann
FormatTrade Paperback
Dimensions
Item Height0.1 in
Item Weight20 Oz
Item Length0.9 in
Item Width0.6 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN2018-061352
Reviews"From triumphal arch to triptych to collector's cabinet to Bilderatlas, Felix Thurlemann's survey of multiple image displays provides an authoritative introduction to a central question in art history: how have collectors, curators, artists, and art historians deployed the array of multiple images to generate meaning? Rich in examples and sensitive to the different potentials of spectatorial experience, this book provides an excellent foundation for further exploration in the way images gather in constellations of genres, styles, and canons of value." --W. J. T. Mitchell, author of Iconology: Image, Text, Ideology and What Do Pictures Want? The Lives and Loves of Images
Dewey Edition23
IllustratedYes
Dewey Decimal700.74
SynopsisIn exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles--or hyperimages. In this thought-provoking and original book, Felix Thürlemann argues that these groupings of images have played a major role in the history of art., This thought-provoking and original book argues that hyperimages--calculated displays of images on walls or pages--have played a major role in the history of art. In exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. In this volume, Felix Thürlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. Through case studies organized within three groups of producers--collectors and curators, art historians, and artists--Thürlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices., This thought-provoking and original book argues that hyperimages--calculated displays of images on walls or pages--have played a major role in the history of art. In exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. In this volume, Felix Thurlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. Through case studies organized within three groups of producers--collectors and curators, art historians, and artists--Thurlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices.
LC Classification NumberN7430.5.T53513 2019
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