KJCKorea
Journal Central

@article{ART002233336},
author={Inhye Kang},
title={Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2017},
number={41},
pages={139-161},
doi={10.17057/kahoma.2017..41.006}

TY - JOUR
AU - Inhye Kang
TI - Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space
JO - Journal of History of Modern Art
PY - 2017
VL - null
IS - 41
PB - 현대미술사학회
SP - 139
EP - 161
SN - 1598-7728
AB - While Stephan Oettermann explains the panoramas mainly in terms of the nineteenth century phenomenon, the ubiquity of the recent panoramas, thanks to the development of digital technology, could be, in fact, seen as ‘the Return of the Panorama,’ as Alexander Streitberger pointed out. In line with this, Victor Burgin, from the end of 1990s onwards, has experimented with the panoramas in his video/photographic works. This paper specifically focuses on his panoramic images shown in the exhibition entitled, “Victor Burgin: Voyage to Italy,” which was held in Canadian Centre for Architecture in Montreal, Canada in 2006. Panorama images are of importance not merely because they appear in many contemporary visual works including those of Andreas Gursky and Mikhael Subotzky, but also because they embody the desire for the totality or totalized vision, which has been reflected from the panoramas of the nineteenth century to the Google Earth views today. This essay therefore first examines panoramas appeared in the contemporary works as well as in the nineteenth century world, and then investigates Burgin’s video works along with his notion of ‘Sequence-image.’ In doing so, this paper aims to read the panorama of Burgin’s works as a critique both of the totalized vision and of the representation of the total reality through media.
KW - Victor Burgin;Panorama;Panoramic photography;Contemporary Photography;Sequence-Image;360-degree view;panorama and totality of vision
DO - 10.17057/kahoma.2017..41.006
ER -

Inhye Kang. (2017). Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space. Journal of History of Modern Art, 41, 139-161.

Inhye Kang. 2017, "Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space", Journal of History of Modern Art, no.41, pp.139-161. Available from: doi:10.17057/kahoma.2017..41.006

Inhye Kang "Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space" Journal of History of Modern Art 41 pp.139-161 (2017) : 139.

Inhye Kang. Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space. 2017; 41 : 139-161. Available from: doi:10.17057/kahoma.2017..41.006

Inhye Kang. "Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space" Journal of History of Modern Art no.41(2017) : 139-161.doi: 10.17057/kahoma.2017..41.006

Inhye Kang. Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space. Journal of History of Modern Art, 41, 139-161. doi: 10.17057/kahoma.2017..41.006

Inhye Kang. Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space. Journal of History of Modern Art. 2017; 41 139-161. doi: 10.17057/kahoma.2017..41.006

Inhye Kang. Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space. 2017; 41 : 139-161. Available from: doi:10.17057/kahoma.2017..41.006

Inhye Kang. "Panoramic Vision in the Contemporary Art: Victor Burgin’s Panorama Works as a Critique of Totalized Space" Journal of History of Modern Art no.41(2017) : 139-161.doi: 10.17057/kahoma.2017..41.006