Iversen, Margaret (2021) The Diaristic Mode in Contemporary Art after Barthes. Art History, 44 (4). pp. 798-822. DOI https://doi.org/10.1111/1467-8365.12587
Iversen, Margaret (2021) The Diaristic Mode in Contemporary Art after Barthes. Art History, 44 (4). pp. 798-822. DOI https://doi.org/10.1111/1467-8365.12587
Iversen, Margaret (2021) The Diaristic Mode in Contemporary Art after Barthes. Art History, 44 (4). pp. 798-822. DOI https://doi.org/10.1111/1467-8365.12587
Abstract
The rise of the diaristic mode in contemporary art might seem like the return of the dead author in a particularly self-absorbed frame of mind. Yet the diary is a form of writing that relinquishes authorial control to the passing moods and contingencies of the day. The diarist writes hastily, automatically, involuntarily, thereby giving access to insights unavailable to deliberation. An account of Roland Barthes's Mourning Diary, 2009, and his reflections on the diary as a form of writing serve to introduce the diaristic work of two contemporary artists, Moyra Davey and Susan Morris. Their work is directly informed by Barthes's and others' experiments with a mode of address that is intimate, but also de-centred and fragmentary.
Item Type: | Article |
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Divisions: | Faculty of Humanities Faculty of Humanities > Philosophy and Art History, School of |
SWORD Depositor: | Unnamed user with email elements@essex.ac.uk |
Depositing User: | Unnamed user with email elements@essex.ac.uk |
Date Deposited: | 12 Jul 2021 07:40 |
Last Modified: | 09 Mar 2022 16:14 |
URI: | http://repository.essex.ac.uk/id/eprint/30726 |
Available files
Filename: 1467-8365.12587.pdf
Licence: Creative Commons: Attribution-Noncommercial-No Derivative Works 3.0