Abstract
Iversen explores the double-sidedness of camera consciousness through a close examination of two works by the British artist Susan Morris. 'Concordances' (2005–ongoing) concerns the production and dissemination of information in newspapers and the generation of clichés, and 'Silence (On Prepared Loom)' (2021) stresses the camera’s receptive indexicality and its power to disrupt our habits of perception.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
