Difference between revisions of "Margaret Iversen"
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| − | '''Margaret Iversen''' is Professor of Art History and Theory at the University of Essex | + | '''Margaret Iversen''' is Professor of Art History and Theory at the University of Essex. |
==Publications== | ==Publications== | ||
| − | ; | + | ; Books |
| − | * "What Is A Photograph", Art History | + | * ''[https://aaaaarg.fail/thing/55295e06334fe0337caf2273 Alois Riegl: Art History and Theory]'', 1993. |
| − | * [http://mcguffie.com/pages/pdf1/Readymade,%20found%20object,%20photograph.pdf "Readymade, | + | * Margaret Iversen, et al., ''[[Media:Mary_Kelly_1997.pdf|Mary Kelly]]'', London: Phaidon, 1997. |
| − | + | * with Francis Barker and Peter Hulme, ''Cannibalism and the Colonial World'', 1998. | |
| − | * '' | + | * editor, with Dana Arnold, [http://libgen.rs/book/index.php?md5=D837F216D1E8DB965211E5D2CA4609EF ''Art and Thought''], Wiley-Blackwell, 2003. |
| − | * '' | + | * ''Beyond Pleasure: Freud, Lacan, Barthes'', 2007. |
| − | * | + | * editor, ''Chance'', London: Whitechapel Gallery, and MIT Press, 2010, 240 pp. [http://www.nasaht.com.au/web_images/12IVERSENCHANCE.pdf Introduction]. [https://mitpress.mit.edu/books/chance] |
| + | * with Stephen Melville, ''[https://aaaaarg.fail/thing/52f518753078884654000023 Writing Art History: Disciplinary Departures]'', University of Chicago Press, 2010, 254 pp. | ||
| + | * editor, with Diarmuid Costello, ''[http://libgen.rs/book/index.php?md5=A258C462733327263BB8DA702AAE5311 Photography after Conceptual Art]'', Wiley-Blackwell, 2010. | ||
| + | |||
| + | ; Book chapters, articles | ||
| + | * "What Is A Photograph", ''Art History'' 17:3, Sep 1994, pp 450-463. | ||
| + | * [http://mcguffie.com/pages/pdf1/Readymade,%20found%20object,%20photograph.pdf "Readymade, Found Object, Photograph"], ''Art Journal'', Summer 2004, pp 44-57. | ||
| + | * "The Surrealist Situation of the Photographed Object", in ''The Lure of the Object'', ed. Stephen Melville, Williamstown, MA: Sterling and Francine Clark Art Institute, 2005, pp 181-192. | ||
| + | * [[Media:Iversen_Auto_Maticity_Ruscha_and_Performative_photography.pdf|"Auto-maticity: Ruscha and performative photography"]], ''Art History'' 32:5, 2009, pp 836-851. | ||
| + | * [http://courtauld.org.uk/pdf/books-online/modernist-games/Modernist%20Games%20Chapter%206%20-%20Margaret%20Iversen%20-%20Double%20Spread.pdf "Chance and Choice in Cézanne"], ch 6 in [http://courtauld.ac.uk/research/courtauld-books-online/modernist-games-cezanne-and-his-card-players ''Modernist Games: Cezanne and his Card Players''], ed. Satish Padiyar, London: Courtauld Institute of Art, 2013. | ||
==Links== | ==Links== | ||
| − | * | + | * http://www.essex.ac.uk/arthistory/staff/profile.aspx?ID=2456 |
| − | |||
| − | |||
Latest revision as of 10:57, 5 March 2021
Margaret Iversen is Professor of Art History and Theory at the University of Essex.
Publications[edit]
- Books
- Alois Riegl: Art History and Theory, 1993.
- Margaret Iversen, et al., Mary Kelly, London: Phaidon, 1997.
- with Francis Barker and Peter Hulme, Cannibalism and the Colonial World, 1998.
- editor, with Dana Arnold, Art and Thought, Wiley-Blackwell, 2003.
- Beyond Pleasure: Freud, Lacan, Barthes, 2007.
- editor, Chance, London: Whitechapel Gallery, and MIT Press, 2010, 240 pp. Introduction. [1]
- with Stephen Melville, Writing Art History: Disciplinary Departures, University of Chicago Press, 2010, 254 pp.
- editor, with Diarmuid Costello, Photography after Conceptual Art, Wiley-Blackwell, 2010.
- Book chapters, articles
- "What Is A Photograph", Art History 17:3, Sep 1994, pp 450-463.
- "Readymade, Found Object, Photograph", Art Journal, Summer 2004, pp 44-57.
- "The Surrealist Situation of the Photographed Object", in The Lure of the Object, ed. Stephen Melville, Williamstown, MA: Sterling and Francine Clark Art Institute, 2005, pp 181-192.
- "Auto-maticity: Ruscha and performative photography", Art History 32:5, 2009, pp 836-851.
- "Chance and Choice in Cézanne", ch 6 in Modernist Games: Cezanne and his Card Players, ed. Satish Padiyar, London: Courtauld Institute of Art, 2013.
