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Editorial Reviews
From Library Journal
This massive catalog documents an exhibition on iconoclasm, i.e., the deliberate destruction of images, at the Center for Art and Media in Karlsruhe, Germany (May 4-August 4, 2002). Edited by Latour, a Paris-based author and professor of sociology, and Weibel, director of the center, it is both fascinating and exhausting. The works included span art history from Goya to Duchamp to video artist Nam June Paik and more, while the contributors are an international collection of curators, art historians, and other academics. General readers will find the complexity of the language daunting, and only those sincerely interested will pursue the arguments presented here. But the questions raised-why is the urge to destroy images, in the name of religion or politics, so powerful? conversely, why is the urge to create images more powerful than iconoclasm? and how can we better understand the cycle of fascination, repulsion, and destruction that obsesses iconoclasts?-make for compelling reading. This volume contains so much more than the exhibition itself that readers may find it difficult to perceive the contours of the original, and the work is best understood as a standalone, far more than merely documenting the exhibit. For libraries collecting on art theory.
Michael Dashkin, PricewaterhouseCoopers, New York
Copyright 2002 Reed Business Information, Inc.
Review
"The value of the book is that is pushes on boundaries."
-- Victoria George, The Art Book
"...Iconoclash...[reflects]on the power of images...and on their intimate role in religious practice."
-- Paul A. Soukup, S. J., Theological Studies
"A big book to browse in, with unexpected images and arguments at the turn of every page."
-- Svetlana Alpers, The Key Reporter
See all Editorial Reviews
This massive catalog documents an exhibition on iconoclasm, i.e., the deliberate destruction of images, at the Center for Art and Media in Karlsruhe, Germany (May 4-August 4, 2002). Edited by Latour, a Paris-based author and professor of sociology, and Weibel, director of the center, it is both fascinating and exhausting. The works included span art history from Goya to Duchamp to video artist Nam June Paik and more, while the contributors are an international collection of curators, art historians, and other academics. General readers will find the complexity of the language daunting, and only those sincerely interested will pursue the arguments presented here. But the questions raised-why is the urge to destroy images, in the name of religion or politics, so powerful? conversely, why is the urge to create images more powerful than iconoclasm? and how can we better understand the cycle of fascination, repulsion, and destruction that obsesses iconoclasts?-make for compelling reading. This volume contains so much more than the exhibition itself that readers may find it difficult to perceive the contours of the original, and the work is best understood as a standalone, far more than merely documenting the exhibit. For libraries collecting on art theory.
Michael Dashkin, PricewaterhouseCoopers, New York
Copyright 2002 Reed Business Information, Inc.
Review
"The value of the book is that is pushes on boundaries."
-- Victoria George, The Art Book
"...Iconoclash...[reflects]on the power of images...and on their intimate role in religious practice."
-- Paul A. Soukup, S. J., Theological Studies
"A big book to browse in, with unexpected images and arguments at the turn of every page."
-- Svetlana Alpers, The Key Reporter
See all Editorial Reviews
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Citations
(learn more)
8
books
cite this book:
See all 8 books citing this book
- Phantasmagoria: Spirit Visions, Metaphors, and Media by Marina Warner in Back Matter
- on page 197
- Chasing Technoscience (Philosophy of Technology) by Evan Selinger on page 45
- Theological Aesthetics: A Reader by Gesa Elsbeth Thiessen in Back Matter
- The Vatican to Vegas: The History of Special Effects by Norman M. Klein in Back Matter
See all 8 books citing this book
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