By Gustave Doré
Comprising the best plates from the nice illustrator's paintings, this assortment good points extraordinary engravings from such literary classics as Milton's Paradise Lost, The Divine Comedy via Dante, Coleridge's The Rime of the traditional Mariner, The Raven by Edgar Allan Poe, Sue's The Wandering Jew, and so on. Captions.
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This well timed quantity discusses the experimental documentary initiatives of a few of the main major artists operating on the earth this day: Hito Steyerl, Joachim Koester, Tacita Dean, Matthew Buckingham, Zoe Leonard, Jean-Luc Moulène, Ilya and Emilia Kabakov, Jon Thomson and Alison Craighead, and Anri Sala.
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Extra info for The Dore Gallery: His 120 Greatest Illustrations (Dover Pictorial Archives)
Like Dean, Buckingham and Koester represent these forlorn spaces not to proclaim the end of utopia but to reclaim the urgency of utopian thinking today. Like Dean, they capitalise on the polysemic nature and semantic instability of ruins, which are invested with utopian and transformative energies very much oriented toward the future. What are the advantages and, equally, the risks of their politics of nostalgia, and how can we define its significance? *** Like in Dean’s work, a sense of re-enchantment animates the filmic and photographic essays of New York-based artist Joachim Koester.
Importantly, early films epitomised a model of filmmaking seemingly unburdened by the pressures of narrative, a taboo for structural filmmakers largely influenced by sculptural and phenomenological models. 35 Likewise, as we have seen, Buckingham’s nostalgic fascination for home movies is a product of their spontaneity, their diversity and their capacity to capture the contingent moments of everyday life. In addition, early cinema represented a more inclusive and democratic public sphere. 36 Through the reference to early cinema, Buckingham advocates the return to a visual culture capable of offering a proletarian public sphere.
Wherever one of these ellipses appears, it Ruins of Utopia 41 Figs. 9, 10, 11, 12. ’38 Like its flag, Christiania appears less as a determined and univocal site than as an enigmatic, coded message waiting to be deciphered. Likewise, Buckingham does not offer a clear-cut response to the issue of whether or not Christiania is a failed utopia. 39 Since its inception Christiania has been the object of scathing criticism from mainstream media and conservative parties, which consider the place as a shelter for drug pushers and very profitable drug trafficking, and call for the restitution of the land to the state.