Margaret Olin – författare

How do some monuments become so socially powerful that people seek to destroy them? After ignoring monuments for years, why must we now commemorate public trauma, but not triumph, with a monument? To explore these and other questions, Robert S. Nelson and Margaret Olin assembled essays from leading scholars about how monuments have functioned throughout the world and how globalization has challenged Western notions of the "monument."Examining how monuments preserve memory, these essays demonstrate how phenomena as diverse as ancient drum towers in China and ritual whale-killings in the Pacific Northwest serve to represent and negotiate time. Connecting that history to the present with an epilogue on the World Trade Center, Monuments and Memory, Made and Unmade is pertinent not only for art historians but for anyone interested in the turbulent history of monuments—a history that is still very much with us today.Contributors:Stephen Bann, Jonathan Bordo, Julia Bryan-Wilson, Jas Elsner, Tapati Guha-Thakurta, Robert S. Nelson, Margaret Olin, Ruth B. Phillips, Mitchell Schwarzer, Lillian Lan-ying Tseng, Richard Wittman, Wu Hung

Photography does more than simply represent the world. It acts in the world, connecting people to form relationships and shaping relationships to create communities. In this beautiful book, Margaret Olin explores photography's ability to "touch" us through a series of essays that shed new light on photography's role in the world. Olin investigates the publication of photographs in mass media and literature, the hanging of exhibitions, the posting of photocopied photographs of lost loved ones in public spaces, and the intense photographic activity of tourists at their destinations. She moves from intimate relationships between viewers and photographs to interactions around larger communities, analyzing how photography affects the way people handle cataclysmic events like 9/11. Along the way, she shows us James VanDerZee's Harlem funeral portraits, dusts off Roland Barthes' family album, takes us into Walker Evans and James Agee's "Let Us Now Praise Famous Men", and logs on to online photo albums. With over one hundred illustrations, "Touching Photographs" is an insightful contribution to the theory of photography, visual studies, and art history.

Looking through the history of art, a reader might conclude that Jews could not create art—and such an assumption, historically incorrect, would be no accident. As we see with disturbing clarity in this book, the discipline of art history—even the first scholarly studies of Jewish works of art—encourages the idea of the nonartistic Jew. Covering the last two centuries, The Nation without Art illuminates the rise of the paradigm of the non-artistic Jew and expresses the ways in which theorists, critics, and artists have sought to subvert, overcome, or work within it. Case studies explore the Bezalel School of Arts and Crafts in Jerusalem, whose efforts to use art to create a Jewish nationality in Palestine raise important issues of national identity, and the discovery in 1932 of the third-century Synagogue of Dura Europos, a symbol for scholars struggling against the Third Reich. Among those who supported or challenged concepts of Jewish art, Margaret Olin considers the nineteenth-century rabbinical scholar David Kaufmann, the philosopher Martin Buber, the critic Clement Greenberg, and the filmmaker Chantal Akerman. Olin's work broadens our understanding of the relation of Jews to the visual image, critiques the nationalist, ethnocentric paradigms of current disciplines, and offers insight into the tenacious art historical discourses that thinkers must inhabit uncomfortably or escape with considerable difficulty.

As the prototypical exemplar of modern visual technology, photography was once viewed as a way to enable vision to bypass imagination, producing more reliable representations of reality. But as an achievement of technological modernity, photography can also be seen as a way to realize a creation of the imagination more vividly than can painting or drawing. Photography and Imagination investigates, from diverse points of view focusing on both theory and practice, the relation between these two terms. The book explores their effect on photography’s capacity, through various forms and modalities of imaginative investments and displacements, to affect even reality itself.

As the prototypical exemplar of modern visual technology, photography was once viewed as a way to enable vision to bypass imagination, producing more reliable representations of reality. But as an achievement of technological modernity, photography can also be seen as a way to realize a creation of the imagination more vividly than can painting or drawing. Photography and Imagination investigates, from diverse points of view focusing on both theory and practice, the relation between these two terms. The book explores their effect on photography’s capacity, through various forms and modalities of imaginative investments and displacements, to affect even reality itself.