The essay follows the path of the «American dream» imagery, which found one of its most famous and celebrated expressions in a photograph, Lunch atop a Skyscraper. In 1989, Duane Hanson presented a hyper-realistic sculpture that clearly refers to the very same imagery. However, compared to the serenity and confidence in the future that shone through the photograph, Lunch Break conveys a completely different atmosphere, suggesting that the «American dream» has been slowly turning into a nightmare. By adopting a phenomenological approach, we will show that the change of medium contributed greatly to the radical change in the meaning of the imagery itself, and this, in turn, will allow us to see all the tragic consequences of the «American dream». Duane Hanson’s work has been remediated and resemantized in 2003 by another US artist, Sharon Lockhart. By examining this very last stage of our iconic journey, we shall show that writing a «biography» of an imagery means to provide a biography of a whole nation.

Le « rêve américain » et sa fin : de la photographie à la sculpture, aller-retour / P. Conte. - In: IMAGES RE-VUES. - ISSN 1778-3801. - 15:(2018), pp. 1-17. [10.4000/imagesrevues.5405]

Le « rêve américain » et sa fin : de la photographie à la sculpture, aller-retour

P. Conte
2018

Abstract

The essay follows the path of the «American dream» imagery, which found one of its most famous and celebrated expressions in a photograph, Lunch atop a Skyscraper. In 1989, Duane Hanson presented a hyper-realistic sculpture that clearly refers to the very same imagery. However, compared to the serenity and confidence in the future that shone through the photograph, Lunch Break conveys a completely different atmosphere, suggesting that the «American dream» has been slowly turning into a nightmare. By adopting a phenomenological approach, we will show that the change of medium contributed greatly to the radical change in the meaning of the imagery itself, and this, in turn, will allow us to see all the tragic consequences of the «American dream». Duane Hanson’s work has been remediated and resemantized in 2003 by another US artist, Sharon Lockhart. By examining this very last stage of our iconic journey, we shall show that writing a «biography» of an imagery means to provide a biography of a whole nation.
Cet article retrace les étapes du voyage de l’imaginaire de l’American dream, qui à partir des années 1930 a trouvé dans une photographie – Lunch atop a Skyscraper – un de ses symboles les plus caractéristiques et reconnaissables. En 1989, celui qui peut être considéré comme l’artiste hyperréaliste le plus célèbre du xxe siècle, Duane Hanson, présente une œuvre qui fait directement allusion au même imaginaire. Toutefois, comparée à la sérénité et au sentiment de confiance dans le futur que la photographie était censée véhiculer, la sculpture de Hanson, dont l’éclatante fidélité mimétique au réel constitue la caractéristique principale, donne à voir que le « rêve américain » s’est lentement transformé en cauchemar. Une approche phénoménologique permettra d’évaluer comment le changement de support contribue de façon décisive au bouleversement radical du sens de l’imaginaire, ce qui laisse en même temps entrevoir, comme en contre-jour, toutes les conséquences de l’American dream. On montrera enfin comment l’œuvre de Hanson a été remédiée et resémantisée, en 2003, par l’artiste américaine Sharon Lockhart. Ainsi, en esquissant la biographie d’un imaginaire, on découvrira qu’elle reflète la biographie d’une nation entière.
Reenactment; American dream; hyperrealism; médiologie; photography; aesthetics; media studies
Settore M-FIL/04 - Estetica
Settore L-ART/06 - Cinema, Fotografia e Televisione
Settore L-ART/03 - Storia dell'Arte Contemporanea
http://journals.openedition.org/imagesrevues/5405
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/2434/931777
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