Nora Alter - Academia.edu (original) (raw)

Papers by Nora Alter

Carolina Digital Repository (University of North Carolina at Chapel Hill), 2013

Choice Reviews Online, 1996

Preface Acknowledgments Introduction: Visions of Vietnam and Protest Theatre Part One: Negotiatin... more Preface Acknowledgments Introduction: Visions of Vietnam and Protest Theatre Part One: Negotiating National History Through Vietnam 1. Playing Imperialism (America's War) 2. Peripheral Contestations (Britain and Austria) 3. "Documenting" Present and Past (Germany) 4. From Colonization to Cyberwar (France) Part Two: Mix/representing the Inappropriate/d Other 5. Performative Sub-Missions 6. American I-Witnesses (Rabe, Balk) Conclusion: Re-Acting tot he Television War Epilog: Anti-Media: Vietnamese Theatre as pacific Resistance Notes Index

Essays on the Essay Film, 2017

''This volume brings together seminal texts written over the first 25 years of the magazi... more ''This volume brings together seminal texts written over the first 25 years of the magazine. Focuses on emerging art practices since its inception, Parachute sought to develop new critical language that could deal with performance. If the early texts refer to the concept of performativity in kinship with the philosophy of language of J.L. Austin and trans-medium approach, others address questions of genre, feminist and cultural studies, globalization, and institutional critique. The essays discuss works by artists such as Yvonne Riner, Krzysztof Wodiczko, Kendell Geers, General Idea, and Matthew Barney.''-- p. [4] of cover

''This final volume of the Parachute anthology gather together essays dealing with the so... more ''This final volume of the Parachute anthology gather together essays dealing with the so-called ''academic media.'' Painting, sculpture, installation, and architecture are debated from several perspectives : from new theories of aesthetic production to the expansion of the art worl, from the ''lessons'' of postmodernism to the definition and exhibition challenges causes by the proliferation of installation art. Essays discuss artists such as Mona Hatoum, Guillermo Kuica, Louise Lawler, Reinhard Mucha, Robert Ryman, Michael Snow, and include Dan Graham on Gordon Matta-Clark and Jeff Wall on Edouard Manet.''-- p. [4] of cover.

Caught by Politics

A large number of European abstract films premiered in the United States in a 1940 festival at th... more A large number of European abstract films premiered in the United States in a 1940 festival at the Museum of Modern Art in New York. The program featured, along with the work of Man Ray, Fernand Leger, and Marcel Duchamp, one of the earliest abstract films, Hans Richter’s 1921 study, Rhythmus 21. At the time, Richter was head of film production at the Frobenius Film Studios in Basel, Switzerland. But Swiss officials had just announced their intention to deport him back to Germany. Richter, one step ahead of the Swiss, had filed with the U.S. consulate for immigration papers, and was awaiting his official documents. MoMA’s screening therefore provided a timely introduction of the artist’s work into the New York art scene. Less than a year later, in 1941, Richter immigrated to the United States and took up residence in Manhattan where he would continue to reside on a part-time basis until his death in 1976. Although identified as a German artist, for the past quarter of a century before he arrived in the United States, Richter had a peripatetic lifestyle and he counted Zurich, Munich, Berlin, Moscow, Eindhoven, Basel, and Paris, amongst other cities, as his residences. Thus, to varying degrees, one might be tempted to conclude that most of Richter’s life was spent in exile. However, the term exile, as Hamid Naficy reminds us, is traditionally taken to mean “banishment for a particular offense, with a prohibition to return,”1 and many of Richter’s earlier departures were voluntary and he always returned to Germany.

... a sparse critical vocabulary and the need to borrow metaphors from the other senses, particul... more ... a sparse critical vocabulary and the need to borrow metaphors from the other senses, particularly from vision. ... and interpretive lines of inquiry in order to trace the role of sound in ongoing ... Informed by a diverse spectrum of contemporary theory, the essays consider the sonic as a ...

Carolina Digital Repository (University of North Carolina at Chapel Hill), 2013

Choice Reviews Online, 1996

Preface Acknowledgments Introduction: Visions of Vietnam and Protest Theatre Part One: Negotiatin... more Preface Acknowledgments Introduction: Visions of Vietnam and Protest Theatre Part One: Negotiating National History Through Vietnam 1. Playing Imperialism (America's War) 2. Peripheral Contestations (Britain and Austria) 3. "Documenting" Present and Past (Germany) 4. From Colonization to Cyberwar (France) Part Two: Mix/representing the Inappropriate/d Other 5. Performative Sub-Missions 6. American I-Witnesses (Rabe, Balk) Conclusion: Re-Acting tot he Television War Epilog: Anti-Media: Vietnamese Theatre as pacific Resistance Notes Index

Essays on the Essay Film, 2017

''This volume brings together seminal texts written over the first 25 years of the magazi... more ''This volume brings together seminal texts written over the first 25 years of the magazine. Focuses on emerging art practices since its inception, Parachute sought to develop new critical language that could deal with performance. If the early texts refer to the concept of performativity in kinship with the philosophy of language of J.L. Austin and trans-medium approach, others address questions of genre, feminist and cultural studies, globalization, and institutional critique. The essays discuss works by artists such as Yvonne Riner, Krzysztof Wodiczko, Kendell Geers, General Idea, and Matthew Barney.''-- p. [4] of cover

''This final volume of the Parachute anthology gather together essays dealing with the so... more ''This final volume of the Parachute anthology gather together essays dealing with the so-called ''academic media.'' Painting, sculpture, installation, and architecture are debated from several perspectives : from new theories of aesthetic production to the expansion of the art worl, from the ''lessons'' of postmodernism to the definition and exhibition challenges causes by the proliferation of installation art. Essays discuss artists such as Mona Hatoum, Guillermo Kuica, Louise Lawler, Reinhard Mucha, Robert Ryman, Michael Snow, and include Dan Graham on Gordon Matta-Clark and Jeff Wall on Edouard Manet.''-- p. [4] of cover.

Caught by Politics

A large number of European abstract films premiered in the United States in a 1940 festival at th... more A large number of European abstract films premiered in the United States in a 1940 festival at the Museum of Modern Art in New York. The program featured, along with the work of Man Ray, Fernand Leger, and Marcel Duchamp, one of the earliest abstract films, Hans Richter’s 1921 study, Rhythmus 21. At the time, Richter was head of film production at the Frobenius Film Studios in Basel, Switzerland. But Swiss officials had just announced their intention to deport him back to Germany. Richter, one step ahead of the Swiss, had filed with the U.S. consulate for immigration papers, and was awaiting his official documents. MoMA’s screening therefore provided a timely introduction of the artist’s work into the New York art scene. Less than a year later, in 1941, Richter immigrated to the United States and took up residence in Manhattan where he would continue to reside on a part-time basis until his death in 1976. Although identified as a German artist, for the past quarter of a century before he arrived in the United States, Richter had a peripatetic lifestyle and he counted Zurich, Munich, Berlin, Moscow, Eindhoven, Basel, and Paris, amongst other cities, as his residences. Thus, to varying degrees, one might be tempted to conclude that most of Richter’s life was spent in exile. However, the term exile, as Hamid Naficy reminds us, is traditionally taken to mean “banishment for a particular offense, with a prohibition to return,”1 and many of Richter’s earlier departures were voluntary and he always returned to Germany.

... a sparse critical vocabulary and the need to borrow metaphors from the other senses, particul... more ... a sparse critical vocabulary and the need to borrow metaphors from the other senses, particularly from vision. ... and interpretive lines of inquiry in order to trace the role of sound in ongoing ... Informed by a diverse spectrum of contemporary theory, the essays consider the sonic as a ...