« Imprécision, incertitude, fugacité, incomplétude » : « October 18, 1977 » de Gerhard Richter et « Baader-Meinhof » de Don DeLillo

Tristan Ireson-Howells

Résumé


L'article contient uniquement le résumé en anglais.

Mots-clés


Richter; DeLillo; Baader; Meinhof; terror; ekphrasis

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PDF (English)

Références


Barthes, R. (1981). Camera Lucida: Reflections on Photography. New York: Hill and Wang.

Bernstein, J. M. (Ed.). (2001). The Culture Industry: Selected Essays on Mass Culture. Theodor W. Adorno. London: Routledge.

Crawford, K. (2009). Gender and terror in Gerhard Richter's “October 18, 1977” and Don DeLillo's “Baader-Meinhof”. New German Critique, 107, 207-230.

Danchev, A. (2010). The artist and the terrorist, or the paintable and the unpaintable: Gerhard Richter and the “Baader-Meinhof” group. Alternatives 35, 93-112.

DeLillo, D. (2001). The Body Artist. New York: Scribner.

DeLillo, D. (2011). Baader-Meinhof. In D. DeLillo, The Angel Esmerelda (pp. 105-118). New York: Scribner

Godfrey, M. (2011). Blurring boundaries: Gerhard's Richter's work is often divided into photo-based painting and abstraction. This division is contested in a much-anticipated restrospective opening this month at London's Tate Modern. Apollo, 174(591).

Herren, G. (2015). Don Delillo’s art stalkers. MFS Modern Fiction Studies, 61(1), 138-167.

Jahn, F. (Ed.) (1989). Gerhard Richter: Atlas. München: Verlag Fred Jahn.

Kauffman, L. (2008). The wake of terror: Don DeLillo's "In the ruins of the future", “Baader-Meinhof”, and “Falling man”. MFS Modern Fiction Studies, 54(2), 353-377.

Richter, G. (2009). Text, Writings, Interview and Letters 1961-2007. London: Thames & Hudson.

Richter, G. (2011). Panorama: A Retrospective. London: Tate Publishing.

Van Schepen, R. (2017). Gerhard Richter's critical artistic strategies: Politics, terrorism and war. Messages, Sages and Ages, 4(1), 7-23.




DOI: http://dx.doi.org/10.17951/lsmll.2020.44.2.41-50
Date of publication: 2020-07-14 13:48:30
Date of submission: 2020-02-19 18:48:22


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Droit d'auteur (c) 2020, Tristan Ireson-Howells

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