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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ftunivillidea:oai:www.ideals.illinois.edu:2142/112893 2023-05-15T14:58:19+02:00 The Tethered Artist Horstman, Fritz 2019-01 http://hdl.handle.net/2142/112893 https://doi.org/10.21900/j.median.v15i1.40 unknown Media-N, vol. 15, issue 1 http://hdl.handle.net/2142/112893 https://doi.org/10.21900/j.median.v15i1.40 image sound text article 2019 ftunivillidea https://doi.org/10.21900/j.median.v15i1.40 2022-01-08T23:29:26Z 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 University of Illinois at Urbana-Champaign: IDEALS (Illinois Digital Environment for Access to Learning and Scholarship) Arctic Media-N 15 1 82 95 |
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University of Illinois at Urbana-Champaign: IDEALS (Illinois Digital Environment for Access to Learning and Scholarship) |
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image sound Horstman, Fritz The Tethered Artist |
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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 |
publishDate |
2019 |
url |
http://hdl.handle.net/2142/112893 https://doi.org/10.21900/j.median.v15i1.40 |
geographic |
Arctic |
geographic_facet |
Arctic |
genre |
Arctic |
genre_facet |
Arctic |
op_relation |
Media-N, vol. 15, issue 1 http://hdl.handle.net/2142/112893 https://doi.org/10.21900/j.median.v15i1.40 |
op_doi |
https://doi.org/10.21900/j.median.v15i1.40 |
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95 |
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