Details

Autor(en) / Beteiligte

• Hanssen, Karin Rieder

Titel

De Geleende Blik: In Dialoog met de tijd

Ort / Verlag

ProQuest Dissertations & Theses

Erscheinungsjahr

2016

Quelle

ProQuest Dissertations & Theses A&I

Beschreibungen/Notizen

• 'THE BORROWED GAZE - in dialogue with time' is an account of the search for the flashback within painting. Many contemporary artists use photographic images as source material for making paintings. When they use images of someone else, they borrow the gaze of the other author. The title of The Borrowed Gaze refers to that action and movement. The displacement of the photographic image to the painting in another time (in history) and space, changes the reading of the image. The book consists of two parts: Part 1 includes seven chapters and is constructed around the painting "De Pantoffeltjes" (1662) by Samuel Van Hoogstraten. It is a time travel through the 17th century, the 50-70s of the last century and the present, focussing on how each time period deals with images and morals. We look at the relationship between the camera obscura and philosophy, the woman as moral compass and her position in the interior in genre painting. The Borrowed Gaze is a feminist essay with the female Rückenfigur as a guide and motive. While we look at appropriation of images over time and its consequences, the Rückenfigur moves from the background to the foreground, becoming the main character. Movement and countermovement is what the essay is all about. Projection and reflection is the strategy. In the first chapters, Penetration, the movement is male voyeuristic, from the foreground with the gaze focused on the passive Rückenfigur in the background. In the last part, Emancipation, that movement is female, from background to foreground. Penetration becomes emancipation, the passive woman as bearer of meaning becomes active and maker of meaning. She breaks loose from oppressive and restrictive frameworks and creates a space for himself with "A Room of Her Own" as the final image. Part 2 contains dialogues: conversations with Charlotte Mullins on the different versions of "Uncle Rudi" (Gerhard Richter) and an interview with Luc Tuymans. From that last conversation I made a film "In dialogue with Luc Tuymans": 'In dialoog met Luc Tuymans: Over de Geleende Blik, de Terugblik, Tiid, 'the gaze' en de daad van het maskeren',