Abstract

This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the "glare" of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

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Additional Information

ISSN
1527-2001
Print ISSN
0887-5367
Pages
pp. 202-216
Launched on MUSE
2000-04-01
Open Access
No
Archive Status
Archived 2009
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