Search results

You are looking at 11 - 14 of 14 items for :

  • "Frankenstein" x
  • Art, Architecture and Visual Culture x
  • Refine by access: All content x
Clear All
Leah Modigliani

backlit transparency of advertisers through the metaphor of the bourgeois monster Frankenstein; the contained inert gases are harnessed to action through an electrical current, illuminating a false representation of nature that is inherently comic and theatrical. The pulsing and buzzing of fluorescent lighting installed above the heads of those institutions that structure and discipline society (‘I’m thinking of factories, offices and schools, but also of kitchens and bathrooms, public, the stages on which “nature takes its course”’) symbolize for Wall the ‘restless

in Engendering an avant-garde
Anna Dezeuze

Modern Art archives. 43 Suzanne Kiplinger, ‘Assemblage’, Village Voice, 26 October 1961, p. 8. 44 Max Kozloff, ‘Art’, The Nation, 11 November 1961, p. 382. 45 Seitz, Art of Assemblage, p. 85. 73 74 ‘Dharma bums’, 1958–71 46 Stankiewicz, cited in ‘Art Crashes through the Junkpile’, p. 4. 47 Seitz, Art of Assemblage, p. 85. 48 Alfred Frankenstein, ‘Art Assembled from the Scrap Pile’, San Francisco Sunday Chronicle, 18 March 1962, microfilm, New York, Museum of Modern Art archives. 49 Emily Genauer, ‘Fur-Lined Cup Back, In Dada – 1st Exhibit’, New York

in Almost nothing
From caricature to portraiture
Henry Miller

lure voters with dubious bait, including ‘Atheism’ and ‘Claptrap’. Even so, as befitted Mill’s status as a leading public intellectual and parliamentarian, he was not caricatured, unlike Odger and Bradlaugh. They were identified by labels and it is unlikely that Morgan knew what they looked like; and even if he had, the Tomahawk’s readers would probably not have recognised them. Bradlaugh was drawn with an exaggerated head, tight jacket and an inane expression similar to Morgan’s grotesque ‘Irish Frankenstein’ published a year later.5 This example shows that however

in Politics personified
Academic compromises
Hélène Ibata

?’, 214. 56 As Paley suggests, this is probably a visual pun, since Fuseli must have known that the word derived from the Old English mare, which means an incubus (Paley, The Apocalyptic Sublime, p. 7n.). See also Christopher Frayling, ‘Fuseli’s The Nightmare: Somewhere between the Sublime and the Ridiculous,’ in Martin Myrone (ed.), Gothic Nightmares:  Fuseli, Blake, and the Romantic Imagination (London:  Tate Publishing, 2006), p. 11. 57 Martin Myrone, ‘Fuseli to Frankenstein: The Visual Arts in the Context of the Gothic’, in Myrone, Gothic Nightmares, p. 45. 58

in The challenge of the sublime