Exploring the margins of representability, pushing beyond the limits and limitations of retinality, lending a voice to the dead or incorporating oral accounts of anonymous strangers, all conjure the ghostly quality that is typical of both the subject matter and the means and materials of Hiller’s art. Her oeuvre is engaged in an on-going dialogue with psychoanalysis, whose archaeological investigations into the unconscious it mimics in its attempt to unearth censored strata of cultural signification
Review of John Forrester and Laura Cameron’s Freud in Cambridge. Cambridge University Press, 2017
In this article, we examine how the demonstrative that may be used to notice an event in the world i...
From the perspective of Neo-Victorian studies, it can be claimed that the character of the Woman in ...
A former anthropologist, Susan Hiller has been a pioneer in exploring the arena between the art doma...
MOT International is delighted to present the first solo exhibition of Susan Hiller in Belgium. Accl...
The premise of the ‘Positions’ series ‘to question artistic and curatorial practices from the singul...
Catalogue of a major retrospective of Hiller's multi-media installations (photography, automatic wri...
Excerpt from book chapter: Susan Hiller stated in a 2005 interview that what drew her ‘to look agai...
This feature-length article was published to coincide with ‘Susan Hiller: Recall’, a major retrospec...
This chapter presents the conversation between Alexandra Kokoli, Senior Lecturer in Visual Culture, ...
Brass Art’s intervention into Freud’s house attempted to grant its solid objects, furniture and room...
This book chapter focuses on Marion Milner’s development of D. W. Winnicot’s theoretical perspective...
Filmmaker Susannah Gent employs a diverse range of methodological approaches to investigate the unca...
This article examines Muriel Spark’s first novel, The Comforters, in the light of her autobiographi...
grantor: University of TorontoThis study of the narrative techniques employed in Angela Ca...
Review of John Forrester and Laura Cameron’s Freud in Cambridge. Cambridge University Press, 2017
In this article, we examine how the demonstrative that may be used to notice an event in the world i...
From the perspective of Neo-Victorian studies, it can be claimed that the character of the Woman in ...
A former anthropologist, Susan Hiller has been a pioneer in exploring the arena between the art doma...
MOT International is delighted to present the first solo exhibition of Susan Hiller in Belgium. Accl...
The premise of the ‘Positions’ series ‘to question artistic and curatorial practices from the singul...
Catalogue of a major retrospective of Hiller's multi-media installations (photography, automatic wri...
Excerpt from book chapter: Susan Hiller stated in a 2005 interview that what drew her ‘to look agai...
This feature-length article was published to coincide with ‘Susan Hiller: Recall’, a major retrospec...
This chapter presents the conversation between Alexandra Kokoli, Senior Lecturer in Visual Culture, ...
Brass Art’s intervention into Freud’s house attempted to grant its solid objects, furniture and room...
This book chapter focuses on Marion Milner’s development of D. W. Winnicot’s theoretical perspective...
Filmmaker Susannah Gent employs a diverse range of methodological approaches to investigate the unca...
This article examines Muriel Spark’s first novel, The Comforters, in the light of her autobiographi...
grantor: University of TorontoThis study of the narrative techniques employed in Angela Ca...
Review of John Forrester and Laura Cameron’s Freud in Cambridge. Cambridge University Press, 2017
In this article, we examine how the demonstrative that may be used to notice an event in the world i...
From the perspective of Neo-Victorian studies, it can be claimed that the character of the Woman in ...