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Longing For The Imaginary: Memory, A...

Hoerdemann, Emily B.

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Longing For The Imaginary: Memory, Allegory, and the Archive Through the Lens of the Nostalgic.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Longing For The Imaginary: Memory, Allegory, and the Archive Through the Lens of the Nostalgic./
Author:	Hoerdemann, Emily B.
Description:	80 p.
Notes:	Source: Masters Abstracts International, Volume: 52-01.
Contained By:	Masters Abstracts International52-01(E).
Subject:	Art Criticism. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1540837
ISBN:	9781303215704

Longing For The Imaginary: Memory, Allegory, and the Archive Through the Lens of the Nostalgic.
Hoerdemann, Emily B.

Longing For The Imaginary: Memory, Allegory, and the Archive Through the Lens of the Nostalgic. - 80 p.

Source: Masters Abstracts International, Volume: 52-01.

Thesis (M.A.)--Sotheby's Institute of Art - New York, 2013.

The nostalgic is used as an artistic device that promotes an escapist fantasy for the artist and for the viewer, which creates a yearning for the quixotic. This reflection of society's impulse to look back to the nostalgic is motivated by manipulations and anxieties of the future. Specifically, the three artists in this study, Wes Anderson, Gregory Crewdson, and Pierre Huyghe, are interested in the capacity for the past to shape memory. What further unites them is a connection in film, which has a way of capturing an altered reality that fiction cannot that allows for the nostalgic impulse. The artists chosen in this thesis are described thematically through the creation of a false world, the symbolism attributed to their false worlds, and the objectification of the nostalgic through the lens of the photographic and filmic. When looking at these artist's works, one might mistake the aesthetic as using nostalgia, a device to re-imagine and restructure identity through a forced collision between past memories and present experiences. However, this is not the case; the works are products of a nostalgic, a person who indulges in nostalgia. The use of the nostalgic is a way to probe the desires of the past where the childlike longing for a superior time is a manipulation, which alter perspectives of the present. Because of the mythologizing nature of cultural memory, reconfigurations are possible through nostalgia, which reshapes perceptions of the past, and thereby changing our evaluations of the present. These artists use nostalgic tendency to alter memory in a more favorable narrative, which provide a comforting sense. The nostalgic impulse causes artists to dig up the past as a symptom of a pathological escapist fantasy, the incapacity to look at the present, and to avoid imagining a future. Counter-memory, or altered memory, is a critical component of the nostalgic impulse by creating not only a fiction, but creating a fiction that blurs the boundaries of historical construction. My suggestion is that through archiving, there is a nostalgic impulse to the creation of memory.

ISBN: 9781303215704Subjects--Topical Terms:

637082
Art Criticism.

Longing For The Imaginary: Memory, Allegory, and the Archive Through the Lens of the Nostalgic.
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100 1 $a Hoerdemann, Emily B. $3 2093306
245 1 0 $a Longing For The Imaginary: Memory, Allegory, and the Archive Through the Lens of the Nostalgic.
300 $a 80 p.
500 $a Source: Masters Abstracts International, Volume: 52-01.
500 $a Advisers: Victoria Miguel; Kathy Battista.
502 $a Thesis (M.A.)--Sotheby's Institute of Art - New York, 2013.
520 $a The nostalgic is used as an artistic device that promotes an escapist fantasy for the artist and for the viewer, which creates a yearning for the quixotic. This reflection of society's impulse to look back to the nostalgic is motivated by manipulations and anxieties of the future. Specifically, the three artists in this study, Wes Anderson, Gregory Crewdson, and Pierre Huyghe, are interested in the capacity for the past to shape memory. What further unites them is a connection in film, which has a way of capturing an altered reality that fiction cannot that allows for the nostalgic impulse. The artists chosen in this thesis are described thematically through the creation of a false world, the symbolism attributed to their false worlds, and the objectification of the nostalgic through the lens of the photographic and filmic. When looking at these artist's works, one might mistake the aesthetic as using nostalgia, a device to re-imagine and restructure identity through a forced collision between past memories and present experiences. However, this is not the case; the works are products of a nostalgic, a person who indulges in nostalgia. The use of the nostalgic is a way to probe the desires of the past where the childlike longing for a superior time is a manipulation, which alter perspectives of the present. Because of the mythologizing nature of cultural memory, reconfigurations are possible through nostalgia, which reshapes perceptions of the past, and thereby changing our evaluations of the present. These artists use nostalgic tendency to alter memory in a more favorable narrative, which provide a comforting sense. The nostalgic impulse causes artists to dig up the past as a symptom of a pathological escapist fantasy, the incapacity to look at the present, and to avoid imagining a future. Counter-memory, or altered memory, is a critical component of the nostalgic impulse by creating not only a fiction, but creating a fiction that blurs the boundaries of historical construction. My suggestion is that through archiving, there is a nostalgic impulse to the creation of memory.
590 $a School code: 1588.
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773 0 $t Masters Abstracts International $g 52-01(E).
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792 $a 2013
793 $a English
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