The Tethered Artist
There is a long history of artists physically tethering themselves in order to draw attention to the lengths to which they will go in their practice, often with the implied message that they are conceptually straining at the tethers of convention. Beginning with a discussion of my recent Arctic unde...
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New Media Caucus
2019
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ftuillinoisiopn:oai:journals.iopn.library.illinois.edu:article/40 2023-05-15T14:58:27+02:00 The Tethered Artist Horstman, Fritz 2019-01-27 application/pdf https://iopn.library.illinois.edu/journals/median/article/view/40 eng eng New Media Caucus https://iopn.library.illinois.edu/journals/median/article/view/40/40 https://iopn.library.illinois.edu/journals/median/article/view/40 Copyright (c) 2022 Fritz Horstman https://creativecommons.org/licenses/by-sa/4.0 CC-BY-SA Media-N; Vol. 15 No. 1 (2019): Autonomous Art Systems; 82-95 1942-017X 2159-6891 10.21900/j.median.v15i1 image sound info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Text 2019 ftuillinoisiopn https://doi.org/10.21900/j.median.v15i1 2023-03-07T10:44:27Z There is a long history of artists physically tethering themselves in order to draw attention to the lengths to which they will go in their practice, often with the implied message that they are conceptually straining at the tethers of convention. Beginning with a discussion of my recent Arctic underwater photography, this article looks at the use of tethers in my own work, as well as in that of several other historical artists. I argue that by highlighting any method of production within the artwork, and specifically a tether, artists are revealing a Realist impulse. Article in Journal/Newspaper Arctic IOPN Journals (Illinois Open Publishing Network) Arctic Media-N 15 1 |
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IOPN Journals (Illinois Open Publishing Network) |
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ftuillinoisiopn |
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English |
topic |
image sound |
spellingShingle |
image sound Horstman, Fritz The Tethered Artist |
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image sound |
description |
There is a long history of artists physically tethering themselves in order to draw attention to the lengths to which they will go in their practice, often with the implied message that they are conceptually straining at the tethers of convention. Beginning with a discussion of my recent Arctic underwater photography, this article looks at the use of tethers in my own work, as well as in that of several other historical artists. I argue that by highlighting any method of production within the artwork, and specifically a tether, artists are revealing a Realist impulse. |
format |
Article in Journal/Newspaper |
author |
Horstman, Fritz |
author_facet |
Horstman, Fritz |
author_sort |
Horstman, Fritz |
title |
The Tethered Artist |
title_short |
The Tethered Artist |
title_full |
The Tethered Artist |
title_fullStr |
The Tethered Artist |
title_full_unstemmed |
The Tethered Artist |
title_sort |
tethered artist |
publisher |
New Media Caucus |
publishDate |
2019 |
url |
https://iopn.library.illinois.edu/journals/median/article/view/40 |
geographic |
Arctic |
geographic_facet |
Arctic |
genre |
Arctic |
genre_facet |
Arctic |
op_source |
Media-N; Vol. 15 No. 1 (2019): Autonomous Art Systems; 82-95 1942-017X 2159-6891 10.21900/j.median.v15i1 |
op_relation |
https://iopn.library.illinois.edu/journals/median/article/view/40/40 https://iopn.library.illinois.edu/journals/median/article/view/40 |
op_rights |
Copyright (c) 2022 Fritz Horstman https://creativecommons.org/licenses/by-sa/4.0 |
op_rightsnorm |
CC-BY-SA |
op_doi |
https://doi.org/10.21900/j.median.v15i1 |
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Media-N |
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15 |
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1 |
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1766330547037011968 |