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Arceneaux, Edgar ; Balka, Miroslaw ; Becher, Bernd ; Becher, Hilla ; Beshty, Walead ; Boyce, Martin ; Byrne, Gerard ; Chodzko, Adam ; Deller, Jeremy ; Eydel, Katja ; Ferreira, Ângela ; Gaillard, Cyprien ; Gonzalez-Foerster, Dominique ; Hiller, Susan ; Hiorns, Roger ; Islam, Runa ; Kabakov, Ilya ; Koester, Joachim ; Kusmirowski, Robert ; Leonard, Zoe ; Lutter, Vera; Macuga, Goshka ; Margolles, Teresa ; Margreiter, Dorit ; Martins, Edgar ; Mehretu, Julie ; Müller, Christian-Philipp ; Nelson, Mike ; Olowska, Paulina ; The Otolith Group ; Parreno, Phillipe ; Perret, Mai-Thu ; Raad, Walid; The Atlas Group ; Shawcross, Conrad ; Smithson, Robert ; Whiteread, Rachel ; Wilson, Jane ; Wilson, Louise

hedendaagse kunst --- theme --- thema's in de kunst --- Contemporary [style of art] --- Art --- art [fine art] --- art theory --- Architecture --- ruins --- architecture [discipline] --- Parreno, Philippe --- Lutter, Vera --- Becher, Bernd und Hilla --- Olowska, Paulina --- Islam, Runa --- Hiorns, Roger --- Beshty, Walead --- Wilson, Jane --- Kuśmirowski, Robert --- Arceneaux, Edgar --- Byrne, Gerard --- Ferreira, Ângela --- Perret, Mai-Thu --- Leonard, Zoe --- Kabakov, Ilija Iosefovich --- Hiller, Susan --- Smithson, Robert --- Wilson, Louise --- Gaillard, Cyprien --- Eydel, Katja --- Mehretu, Julie --- Martins, Edgar --- Bałka, Mirosław --- Müller, Christian Philipp --- Boyce, Martin --- Margolles, Teresa --- Macuga, Goshka --- Gonzalez-Foerster, Dominique --- Shawcross, Conrad --- Raad, Walid --- Nelson, Mike --- Koester, Joachim --- Whiteread, Rachel --- Chodzko, Adam --- Deller, Jeremy --- Margreiter, Dorit --- Otolith Group [London] --- anno 2000-2009 --- anno 1900-1999 --- Ruins in art. --- Ruins in literature. --- Arts, Modern --- Aesthetics. --- Ruines dans l'art --- Ruines dans la littérature --- Arts --- Esthétique --- Ruins in art --- 77.01 --- Fotografie--Semiotiek van de fotografie. Theorie --- 7.01 --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Kunst ; theorie, filosofie, esthetica --- Kunsttheorie ; ruïnes in de kunst ; 20ste en 21ste eeuw --- Environmental art --- Omgevingskunst --- Ruines dans la littérature --- Esthétique --- Kunst --- Architectuur --- kunst --- architectuur [vakgebied] --- kunsttheorie --- thema --- ruïnes --- Otolith Group [Londen] --- Arts, Modern - 20th century --- Arts, Modern - 21st century --- art [discipline]

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Boldly combining the highly personal with the brilliantly scholarly, In the Dark Room explores the question of how memory works emotionally and culturally. It is narrated through the prism of the author's experience of losing both his parents: his mother when he was sixteen, his father when he was on the cusp of adulthood and of trying, after a breakdown some years later, to piece things together. Drawing on the lessons of centuries of literature, philosophy and visual art, Dillon interprets the relics of his parents and of his childhood in a singularly original and arresting piece of writing reissued for the first time since its original publication in 2005, and including a new foreword from prize-winning biographer Frances Wilson.

Bereavement --- Bereavement --- Families. --- Loss (Psychology). --- Loss (Psychology). --- Memory. --- Memory. --- Mental health. --- Parents --- Parents --- Psychological aspects. --- Psychological aspects. --- Death --- Psychological aspects. --- Death --- Psychological aspects. --- Dillon, Brian, --- Dillon, Brian, --- Dillon, Brian, --- Dillon, Brian, --- Family. --- Mental health.

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Essay. --- Essay. --- Grammar, Comparative and general --- Grammar, Comparative and general --- Sentences. --- Sentences.

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In Affinities, Brian Dillon explores images and artists he is drawn to or loves, and tries to analyze the attraction. What do we mean when we claim affinity with an object or picture, or say that affinities exist (not only formal) between such things? What do feelings of affinity imply about individual or collective experience of art, and of the world? The word ‘affinity’ used to mean an attraction of opposites, between chemical elements. In his Elective Affinities, Goethe used the idea to think about the orbits and collisions of love. In the poetry and essays of Baudelaire, the writings of Walter Benjamin and Aby Warburg, the art of Tacita Dean and Moyra Davey, a partly buried history of affinity can be found. Affinities is a critical and personal study of a sensation that is not exactly taste, desire, or allyship, but has aspects of all. Approaching this subject via discrete examples, this book is first of all about images – mostly photographs – that have stayed with the author over many years, or grown in significance during months of pandemic isolation, when the visual field had shrunk. Some of these are historical works by artists such as Julia Margaret Cameron, Dora Maar, Claude Cahun, Samuel Beckett and Andy Warhol. Others are more or less obscure scientific or vernacular images: sea creatures, migraine auras, astronomical illustrations derived from dreams. Also family photographs, film stills, records of atomic ruin. And contemporary art by Rinko Kawauchi, Susan Hiller and John Stezaker. Written as a series of linked essays, interwoven with a reflection on affinity itself, Affinities completes a trilogy, with Essayism and Suppose a Sentence, about the intimate and abstract pleasures of reading and looking.

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