By Richard Allen, Malcolm Turvey

Annette Michelson’s contributions to artwork and picture feedback during the last 3 a long time were remarkable. This quantity honors her precise legacy with unique essays via the various many students who've been prompted by way of her paintings. a few proceed her efforts to advance theoretical frameworks for figuring out modernist artwork, whereas others perform her kind of interdisciplinary feedback on the subject of avant-garde and modernist artwork works and artists. nonetheless others examine and review Michelson’s paintings itself. All indirectly pay homage to her notable contribution.

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4. : Princeton University Press, 1979), p. 45. : MIT Press, 1990), p. 43. , p. 48. See Sarah Kofman’s analysis and her conclusion: ‘Because images on the retina are perspectivist, Descartes concludes that there is no resemblance between object and image. It is the mind that sees, and not the eye, and the mind is consciousness 48 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. : Cornell University Press, 1999), p. 52. Crary, Techniques of the Observer, p.

E. of a brain – supposedly a site of intelligence. Epstein elaborated a category that embodies logical dimensions of space translated into causality: 46 Camera Obscura, Camera Lucida Because causality appears to be a co-variant of time, a spatio-temporal continuum appears also as if having a logical character, and the relativity of space and time embraces a logical relativity. Each space has its own logical sense determined by the direction of its movement in time. Causality is a temporal and spatial function that 44 constitutes a fifth variable of a continuum that we are used to think.

At the beginning of her seminal book Passages in Modern Sculpture (New York: Viking Press, 1977), Krauss acknowledges her debt to Michelson in the following way: ‘The effect of [Michelson’s] thinking has had a great deal to do with the importance which issues of temporality assume in the discussion that follows’ (p. vi). Michelson has also promoted other, related, paradigms that have allowed scholars to move beyond an expression concept of art. For example, she wrote the introduction to the English translation of Noël Burch’s Theory of Film Practice, which proved to be a seminal text for ‘Neo-Formalist’ film scholars such as David Bordwell.

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