This catalog presents a number of works in media installation, sculpture, photography, and prints by Francesc Torres, who combines new and traditional media to explore how political powers have molded the historical record.
For most of our history, painting was the chief medium for recording momentous events. Photography largely replaced painting in the nineteenth century as the medium for recording historical moments, a role that shifted to film and then to video. Since 1950, however, television--and in particular the "documentary"--has become the chief medium for creating indelible historical images.
Torres questions the process by which television and the press document historical events and , in the work reflected in this exhibition catalog, questions the motivation that targets particular moments above others. Torres's work calls for critical analysis of the documentary mode and, in general, encourages skepticism of the hero-making power of art.
Four essays, presented in both Spanish and English, explore these themes from a number of angles. Tom McEvilley, author of Art and Discontent, analyzes the philosophical underpinnings of Torres's work. Juan Antonio Ramirez offers structural models that trace developments in Torres's career from the 1970's to the present. Torres himself addresses the relationships among memeory , forgetfulness and history, relating his earlier treatment of these themes to their expression in Too Late for Goya. Finally, Marilyn A. Zeitlin, curator of the exhibition, discusses the works within the context of contemporary art and media installation.
This catalog will be of interest to all who are interested in politics and art, and in the powerful and often misleading relationship berween the two.
|Publisher:||Arizona State University Art Museum|