APA 6th Edition Maroević, T. (2012). Preobrazbe negacijom negacije: Zlatko Keser. Art bulletin, (62), 67-83. Retrieved from https://hrcak.srce.hr/99225
MLA 8th Edition Maroević, Tonko. "Preobrazbe negacijom negacije: Zlatko Keser." Art bulletin, vol. , no. 62, 2012, pp. 67-83. https://hrcak.srce.hr/99225. Accessed 23 Oct. 2020.
Chicago 17th Edition Maroević, Tonko. "Preobrazbe negacijom negacije: Zlatko Keser." Art bulletin , no. 62 (2012): 67-83. https://hrcak.srce.hr/99225
Harvard Maroević, T. (2012). 'Preobrazbe negacijom negacije: Zlatko Keser', Art bulletin, (62), pp. 67-83. Available at: https://hrcak.srce.hr/99225 (Accessed 23 October 2020)
Vancouver Maroević T. Preobrazbe negacijom negacije: Zlatko Keser. Art bulletin [Internet]. 2012 [cited 2020 October 23];(62):67-83. Available from: https://hrcak.srce.hr/99225
IEEE T. Maroević, "Preobrazbe negacijom negacije: Zlatko Keser", Art bulletin, vol., no. 62, pp. 67-83, 2012. [Online]. Available: https://hrcak.srce.hr/99225. [Accessed: 23 October 2020]
Abstracts The actual “black phase” of Keser’s expression is not unique in his opus, although it is perhaps the apogee, the peak of the demands of existential directedness, the necessity of a characteristic reduction to the vital. Using exclusively graphite and other sources of blackness, the painter articulates his scenes in various ways; at the very brink of deafness and nonexpressiveness, he created his own manner of dance around emptiness, emphasizing the dialectics of diving into nothingness and rising to the surface of the magma of nonexistence.