Erosion and illegibility of images: ‘beyond the immediacy of the present’Footnote^*

* Buck-Morss (Citation1989, x).

References

• Alliez, É. 2011. “Undoing the Image (Signpost of a Research Programme).” In Aesthetics and Contemporary Art, edited by A. Avanessian, and L. Skebowski, 65–86. Berlin: Sternberg Press.
   Google Scholar
• Asselin, O., J. Lamoureux, and C. Ross, eds. 2008. Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture. London: McGill-Queen's University Press.
   Google Scholar
• Benjamin, W. (1921) 2002. “The Task of the Translator.” In Walter Benjamin Selected Writings Volume 1: 1913-1926, edited by M. Bullock, and M. W. Jennings, 253–263. Cambridge, MA: The Belknap Press of Harvard University Press.
   Google Scholar
• Bolt, B. 2007. “The Magic is in Handling.” In Practice as Research Approaches to Creative Arts Enquiry, edited by E. Barrett, and B. Bolt, 27–34. London: I.B.Tauris.
   Google Scholar
• Boym, S. 2010. “Ruins of the Avant-Garde: From Tatlin’s Tower to Paper Architecture.” In Ruins of Modernity, edited by J. Hell, and A. Schönle, 58–88. Durham, NC: Duke University Press.
   Google Scholar
• Buck-Morss, S. 1989. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press.
   Google Scholar
• Didi-Huberman, G. 2005. Confronting Images: Questioning the Ends of a Certain History of Art. University Park: Pennsylvania State University Press.
   Google Scholar
• Dillon, B., ed. 2011. Ruins. Cambridge, MA: Whitechapel Gallery/MIT Press.
   Google Scholar
• Doane, M. A. 1996. “Temporality, Storage, Legibility: Freud, Marey, and the Cinema.” Critical Inquiry 22 (2): 313–343. doi: 10.1086/448793
   Web of Science ®Google Scholar
• Draxler, H. 2010. “ Painting As Apparatus Twelve Theses.” Texte Zur Kunst, March, issue no. 77, 108–111.
   Google Scholar
• Dworkin, C. 2013. Reading the Illegible. Evanston: North Western University Press.
   Google Scholar
• Edensor, T. 2005. Industrial Ruins: Spaces, Aesthetics, and Materiality. Oxford: Berg.
   Google Scholar
• Foster, H. 1985. Recodings: Art, Spectacle, Cultural Politics. 1st ed. Seattle, WA: Bay Press.
   Google Scholar
• Frampton, H. 2009. On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press.
   Google Scholar
• Gamboni, D. 2002. Potential Images: Ambiguity and Indeterminacy in Modern. London: Reaktion Books.
   Google Scholar
• Geimer, P. 2012. Thinking through Painting. Reflexivity and Agency beyond the Canvas. Berlin: Sternberg Press.
   Google Scholar
• Groys, B. 2008. Art Power. Cambridge, MA: MIT Press.
   Google Scholar
• Han, Byung-Chul. 2015. The Transparency Society. Stanford: Stanford University Press.
   Google Scholar
• Hell, J., and A. Schönle. 2010. Ruins of Modernity. Durham, NC: Duke University Press.
   Google Scholar
• Hoptman, L. 2014. Forever Now: Contemporary Painting in an Atemporal World. New York: MOMA.
   Google Scholar
• Huyssen, A. 2006. “Nostalgia for Ruins.” Grey Room 23, Spring 6–21.
   Google Scholar
• Huyssen, A. 2010. “Authentic Ruin: Products of Modernity.” In Ruins of Modernity, edited by J. Hell, and A. Schönle, 17–28. Durham, NC: Duke University Press.
   Google Scholar
• Jay, M. 1993. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Berkeley: University of California Press.
   Google Scholar
• Joselit, D. 2013. After Art. Princeton, NJ: Princeton University Press.
   Google Scholar
• Joselit, D. 2014. “ Against Representation.” Texte zur Kunst, September, issue no. 95, 96–103.
   Google Scholar
• Joselit, D. 2015. “Reassembling Painting.” In Painting 2.0: Expression in the Information Age : Gesture and Spectacle, Eccentric Figuration, Social Networks, edited by D. Joselit, M. Ammer, and A. Hochdörfer, 169–181. München: Museum Brandhorst.
   Google Scholar
• Latour, B. 2002. “What is Iconoclash? Or is There a World Beyond the Image Wars?” In Iconoclash: Beyond the Image Wars in Science, Religion, and Art, edited by Bruno Latour and Peter Weibel, 16–42. Cambridge: MIT Press.
   Google Scholar
• Lomax, C. 2016. “Introduction.” Garageland 20.
   Google Scholar
• Picon, A., and K. Bates. 2000. “Anxious Landscapes: From the Ruin to Rust.” Grey Room 1 (Autumn): 64–83. doi: 10.1162/152638100750173065
   Google Scholar
• Prince, M. 2014. “ New Realism.” Art Monthly, May 6–9, 376.
   Google Scholar
• Rancière, J. 2007. “Art of the Possible: Fulvia Carnevale and John Kelsey in Conversation with Jacques Ranciere.” Artforum International 45 (7): 256–269.
   Web of Science ®Google Scholar
• Rancière, J. 2009. The Emancipated Spectator. London: Verso.
   Google Scholar
• Roberts, J. 2015. “The Political Economy of the Image.” Philosophy of Photography 6 (1 + 2): 25–35. doi: 10.1386/pop.6.1-2.25_1
   Web of Science ®Google Scholar
• Roelstraete, D. 2009. “The Way of the Shovel: On the Archeological Imaginary in Art.” e-flux journal, 4 (March).
   Google Scholar
• Savile, A. 1993. “The Rationale of Restoration.” The Journal of Aesthetics and Art Criticism 51 (3): 463–474. doi: 10.2307/431518
   Web of Science ®Google Scholar
• Shklovsky, V. 1965. “Art as Technique.” In Russian Formalist Criticism: Four Essays, edited by L. T. Lemon, and M. J. Reis, 3–24. Lincoln: University of Nebraska Press.
   Google Scholar
• Stewart, S. 1993. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham, NC; London: Duke University Press.
   Google Scholar