Valentin Serov (1865-1911) burst onto the art scene at the age of twenty-two with his portrait Girl with Peaces. In a short time he became the preeminent portraitist of Russia's Silver Age.
Elizabeth Kridl Valkenier weds art criticism to social history in her study of Serov. She casts the artist's work against the Gilden Age of turn-of-the-century Russia, an era when money and consumption abounded and revolutionary change was taking place at all levels of society. Painting prominent people of the day in business, government, the nobility, and the arts, Serov created a gallery of Russia's important figures--figures seen with a sharp eye and painted with subtle irony.
"An elegant monument to one of Russia's most vibrant painters and a model of intellectual inquiry into the cultural effervescence that so characterized the twilight of Imperial Russia." --John E. Bowlt, University of Southern California
"Serov emerges both as a subtle and versatile artist and a perceptive observer of Russian upper-class life and attitudes." --Richard Wortman, Columbia University
"This shrewd and witty book will tell art historians as much about Russian history and society as it will tell historians and sociologists about Russian art." --Richard Taruskin, author of Stravinsky and the Russian Traditions "Valkenier ably and thoughtfully describes the artists and patrons that affected Serov's career as no one has done before in any language. She has a wonderful gift for synthesis." --Choice "Serov is rightly viewed as a figure of immense cultural importance, an assessment which this book will do much to initiate amongst the uninformed, or consolidate amongst Serov's many admirers." --Russian Review
In a manufacturing metropolis in south China lies Dafen, an urban village that famously houses thousands of workers who paint van Goghs, Da Vincis, Warhols, and other Western masterpieces for the world market, producing an astonishing five million paintings a year. To write about work and life in Dafen, Winnie Wong infiltrated this world, first investigating the work of conceptual artists who made projects there; then working as a dealer; apprenticing as a painter; surveying wholesalers and retailers in Europe, East Asia and North America; establishing relationships with local leaders; and organizing a conceptual art exhibition for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about a little-known aspect of the global art world—one that sheds surprising light on the workings of art, artists, and individual genius.
Confronting big questions about the definition of art, the ownership of an image, and the meaning of originality and imitation, Wong describes an art world in which idealistic migrant workers, lofty propaganda makers, savvy dealers, and international artists make up a global supply chain of art and creativity. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, neatly styling himself into a Dafen boss. Taking the Shenzhen-based photojournalist Yu Haibo’s award-winning photograph from the Amsterdam's World Press Photo organization, she finds and meets the Dafen painter pictured in it and traces his paintings back to an unlikely place in Amsterdam. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about creativity, and the role of Chinese workers in redefining global art.
Providing a valuable account of art practices in an ascendant China, Van Gogh on Demand is a rich and detailed look at the implications of a world that can offer countless copies of everything that has ever been called “art.”
Vincent van Goghâ€™s *Sunflowers* are seen by many as icons of Western European art. Two of these masterpieces â€” the first version painted in August 1888 (The National Gallery, London) and the painting made after it in January 1889 (Van Gogh Museum, Amsterdam) â€” have been the subject of a detailed comparison by an interdisciplinary team of experts. The pictures were examined in unprecedented depth using a broad array of techniques, including state-of-the-art, non-invasive imaging analytical methods, to look closely at and under the paint surface.Not only the making, but also the subsequent history of the works was reconstructed, including later campaigns of restoration. The studyâ€™s conclusions are set out in this book, along with the fascinating genesis of the paintings and the sunflowerâ€™s special significance to Van Gogh.More than 30 authors, all specialists in the field of conservation, conservation science and art history, have contributed to the research and publication presenting the outcomes of this unique project.
Printed in the colors of flesh and blood, VAS: An Opera in Flatland—a hybrid image-text novel—demonstrates how differing ways of imagining the body generate diverse stories of history, gender, politics, and, ultimately, the literature of who we are.
A constantly surprising, VAS combines a variety of voices, from journalism and libretto to poem and comic book. Often these voices meet in counterpoint, and the meaning of the narrative emerges from their juxtapositions, harmonies, or discords. Utilizing a wide and historical sweep of representations of the body—from pedigree charts to genetic sequences—VAS is, finally, the story of finding one's identity within the double helix of language and lineage.
In Venus in Exile renowned cultural critic Wendy Steiner explores the twentieth century's troubled relationship with beauty. Disdained by avant-garde artists, feminists, and activists, beauty and its major symbols of art—the female subject and ornament—became modernist taboos. To this day it is hard to champion beauty in art without sounding aesthetically or politically retrograde. Steiner argues instead that the experience of beauty is a form of communication, a subject-object interchange in which finding someone or something beautiful is at the same time recognizing beauty in oneself. This idea has led artists and writers such as Marlene Dumas, Christopher Bram, and Cindy Sherman to focus on the long-ignored figure of the model, who function in art as both a subject and an object. Steiner concludes Venus in Exile on a decidedly optimistic note, demonstrating that beauty has created a new and intensely pleasurable direction for contemporary artistic practice.
This book begins with a single premise: that Vermeer painted images not only of extraordinary beauty, but of extraordinary strangeness. To understand that strangeness, Bryan Jay Wolf turns to the history of early modernism and to ways of seeing that first developed in the seventeenth century. In a series of provocative readings, Wolf presents Vermeer in bracing new ways, arguing for the painter's immersion in—rather than withdrawal from—the intellectual concerns of his day.
The result is a Vermeer we have not seen before: a painter whose serene spaces and calm subjects incorporate within themselves, however obliquely, the world's troubles. Vermeer abandons what his predecessors had labored so carefully to achieve: legible spaces, a world of moral clarity defined by the pressure of a hand against a table, or the scatter of light across a bare wall. Instead Vermeer complicated Dutch domestic art and invented what has puzzled and captivated his admirers ever since: the odd daubs of white pigment, scattered across the plane of the canvas; patches of blurred surface, contradicting the painting's illusionism without explanation; and the querulous silence that endows his women with secrets they dare not reveal.
This beautifully illustrated book situates Vermeer in relation to his predecessors and contemporaries, and it demonstrates how powerfully he wrestled with questions of gender, class, and representation. By rethinking Vermeer's achievement in relation to the early modern world that gave him birth, Wolf takes northern Renaissance and early modern studies in new directions.
Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction – particularly photography – but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.
For many students, vernacular architecture represents a novel approach to the study of the built environment. Even after several decades of intellectual embrace, many professors of art and architectural history continue to find it difficult to integrate vernacular architecture into a course syllabus. Instructors face a daunting task: how can a more expansive, nuanced picture of the history of the American built environment be taught when standard textbooks continue to privilege the same monuments decade after decade without acknowledging the richness of the American architectural legacy? Vernacular America, selected from three decades of Winterthur Portfolio articles on the subject, addresses that problem by suggesting practical strategies for balancing, and perhaps even undermining, the canon of American architecture as it is taught in many college classrooms.
Many instructors of New World architectural history seek to bring broad social, ethnic, political, and technical perspectives to the study of the built environment. While they await a survey book that fully integrates academic and vernacular narratives, the articles in this course reader are intended to encourage instructors and students to incorporate a diverse and inclusive approach into the curriculum, one that continues to understand the past, but also one that pays attention to the future. The aim of this publication is to offer both instructors and students the opportunity to create and nurture a more comprehensive picture of the history of the built environment of the United States.
Barbara Burlison Mooney is associate professor of art history at the University of Iowa. Professor Mooney’s area of specialization encompasses both American architecture and African American art.
Victor Arnautoff reigned as San Francisco's leading mural painter during the New Deal era. Yet that was only part of an astonishing life journey from Tsarist officer to leftist painter. Robert W. Cherny's masterful biography of Arnautoff braids the artist's work with his increasingly leftist politics and the tenor of his times. Delving into sources on Russian émigrés and San Francisco's arts communities, Cherny traces Arnautoff's life from refugee art student and assistant to Diego Rivera to prominence in the New Deal's art projects and a faculty position at Stanford University. As Arnautoff's politics moved left, he often incorporated working people and people of color into his treatment of the American past and present. In the 1950s, however, his participation in leftist organizations and a highly critical cartoon of Richard Nixon landed him before the House Un-American Activities Committee and led to calls for his dismissal from Stanford. Arnautoff eventually departed America, a refugee of another kind, now fleeing personal loss and the disintegration of the left-labor culture that had nurtured him, before resuming his artistic career in the Soviet Union that he had fought in his youth to destroy.
The subject of Victorian Domesticity is family life in America. The life and works of Louisa May Alcott served as the vehicle for exploring and analyzing this subject. Although Alcott was deeply influenced by popular currents of sentimentality, her own experience exposed her to the confusions and contradictions generated when sentiment confronted the reality of life in 19th-century America.
In the first chapter Strickland outlines the ways in which sentimentality colored the perception of 19th-century Americans about such issues as courtship, marriage, the relationship between the sexes, generational relationships, and the relationship between the nuclear family and the community outside the family. Chapters two and three trace Alcott’s childhood and adolescent experiences, exploring the tensions that developed between Louisa and her father, and detailing the ways in which she carried the double burden of being both poor and female as she sought her identity as a writer.
The following six chapters treat the varieties of family life that appear in Alcott’s stories, the impact of feminism on her life, and her emphasis on the importance of child nurture. In the final two chapters the author treats the relationships that Alcott perceived between the family and the world around it and assesses the legacy of the Victorian family idea.
Timothy Barringer and Wayne Modest, editors Duke University Press, 2018 Library of Congress F1886.V53 2018
Victorian Jamaica explores the extraordinary surviving archive of visual representation and material objects to provide a comprehensive account of Jamaican society during Queen Victoria's reign over the British Empire, from 1837 to 1901. In their analyses of material ranging from photographs of plantation laborers and landscape paintings to cricket team photographs, furniture, and architecture, as well as a wide range of texts, the contributors trace the relationship between black Jamaicans and colonial institutions; contextualize race within ritual and performance; and outline how material and visual culture helped shape the complex politics of colonial society. By narrating Victorian history from a Caribbean perspective, this richly illustrated volume—featuring 270 full-color images—offers a complex and nuanced portrait of Jamaica that expands our understanding of the wider history of the British Empire and Atlantic world during this period.
Contributors. Anna Arabindan-Kesson, Tim Barringer, Anthony Bogues, David Boxer, Patrick Bryan, Steeve O. Buckridge, Julian Cresser, John M. Cross, Petrina Dacres, Belinda Edmondson, Nadia Ellis, Gillian Forrester, Catherine Hall, Gad Heuman, Rivke Jaffe, O'Neil Lawrence, Erica Moiah James, Jan Marsh, Wayne Modest, Daniel T. Neely, Mark Nesbitt, Diana Paton, Elizabeth Pigou-Dennis, Veerle Poupeye, Jennifer Raab, James Robertson, Shani Roper, Faith Smith, Nicole Smythe-Johnson, Dianne M. Stewart, Krista A. Thompson
In this fascinating and colorful book, researcher and performer John McCormick focuses on the marionette world of Victorian Britain between its heyday after 1860 and its waning years from 1895 to 1914. Situating the rich and diverse puppet theatre in the context of entertainment culture, he explores both the aesthetics of these dancing dolls and their sociocultural significance in their life and time.
The history of marionette performances is interwoven with live-actor performances and with the entire gamut of annual fairs, portable and permanent theatres, music halls, magic lantern shows, waxworks, panoramas, and sideshows. McCormick has drawn upon advertisements in the Era, an entertainment paper, between the 1860s and World War I, and articles in the World’s Fair, a paper for showpeople, in the first fifty years of the twentieth century, as well as interviews with descendants of the marionette showpeople and close examinations of many of the surviving puppets.
McCormick begins his study with an exploration of the Victorian marionette theatre in the context of other theatrical events of the day, with proprietors and puppeteers, and with the venues where they performed. He further examines the marionette’s position as an actor not quite human but imitating humans closely enough to be considered empathetic; the ways that physical attributes were created with wood, paint, and cloth; and the dramas and melodramas that the dolls performed. A discussion of the trick figures and specialized acts that each company possessed, as well as an exploration of the theatre’s staging, lighting, and costuming, follows in later chapters. McCormick concludes with a description of the last days of marionette theatre in the wake of changing audience expectations and the increasing popularity of moving pictures.
This highly enjoyable and readable study, often illuminated by intriguing anecdotes such as that of the Armenian photographer who fell in love with and abducted the Holden company’s Cinderella marionette in 1881, will appeal to everyone fascinated by the magic of nineteenth-century theatre, many of whom will discover how much the marionette could contribute to that magic.
We are the unwilling, led by the unqualified, doing the unnecessary for the ungrateful
—from an engraving on a Vietnam-era Zippo lighter
In 1965, journalist Morley Safer followed the United States Marines on a search and destroy mission into Cam Ne. When the Marines he accompanied reached the village, they ordered the civilians there to evacuate their homes—grass huts whose thatched roofs they set ablaze with Zippo lighters. Safer’s report on the event soon aired on CBS and was among the first to paint a harrowing portrait of the War in Vietnam. LBJ responded to the segment furiously, accusing Safer of having “shat on the American flag.” For the first time since World War II, American boys in uniform had been portrayed as murderers instead of liberators. Our perception of the war—and the Zippo lighter—would never be the same.
But as this stunning book attests, the Zippo was far more than an instrument of death and destruction. For the American soldiers who wielded them, they were a vital form of social protest as well. Vietnam Zippos showcases the engravings made by U.S. soldiers on their lighters during the height of the conflict, from 1965 to 1973. In a real-life version of the psychedelic war portrayed in Francis Ford Coppola’s Apocalypse Now, Sherry Buchanan tells the fascinating story of how the humble Zippo became a talisman and companion for American GIs during their tours of duty. Through a dazzling array of images, we see how Zippo lighters were used during the war, and we discover how they served as a canvas for both personal and political expression during the Age of Aquarius, engraved with etchings of peace signs and marijuana leaves and slogans steeped in all the rock lyrics, sound bites, combat slang, and antiwar mottos of the time.
Death from Above. Napalm Sticks to Kids. I Love You Mom, From a Lonely Paratrooper. The engravings gathered in this copiously illustrated volume are at once searing, caustic, and moving, running the full emotional spectrum with both sardonic reflections—I Love the Fucking Army and the Army Loves Fucking Me—and poignant maxims—When the Power of Love Overcomes the Love of Power, the World Will Know Peace. Part pop art and part military artifact, they collectively capture the large moods of the sixties and the darkest days of Vietnam—all through the world of the tiny Zippo.
African cinema in the 1960s originated mainly from Francophone countries. It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state. Beginning in 1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films. But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras. These “Nollywood” films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema.
Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a comparison of these two main African cinema modes.
Contributors: Ralph A. Austen and Mahir Şaul, Jonathan Haynes, Onookome Okome, Birgit Meyer, Abdalla Uba Adamu, Matthias Krings, Vincent Bouchard, Laura Fair, Jane Bryce, Peter Rist, Stefan Sereda, Lindsey Green-Simms, and Cornelius Moore
What do you think of when you think of the Vikings? Fierce warriors? Sailors of magnificent dragon-prowed ships who terrorized North-Western Europe? Do you think of darkened halls thick with smoke and song?
Like all people those researchers now consider to be Viking were much more complex than the modern world sees them as. This coloring book is meant to show that. It is designed to provide scenes of the beauty of the early medieval world the Vikings inhabited. It is in this context that Viking cultures developed. You will find artifacts and animals, plants and landscapes within these pages to explore. Species that held some use to the Vikings, such as those that provided fur in particular have been focused on. Reconstructed scenes are inspired by the diverse world experienced in the north. There are no horned helmets here. The real Vikings were much more practical than that.
Parting ways with the Freudian and Lacanian readings that have dominated recent scholarly understanding of Hitchcock, David Humbert examines the roots of violence in the director’s narratives and finds them not in human sexuality but in mimesis. Through an analysis of seven key films, he argues that Girard’s model of mimetic desire—desire oriented by imitation of and competition with others—best explains a variety of well-recognized themes, including the MacGuffin, the double, the innocent victim, the wrong man, the transfer of guilt, and the scapegoat. This study will appeal not only to Hitchcock fans and film scholars but also to those interested in Freud and Girard and their competing theories of desire.
Instead of asking questions about the symbolic meaning or underlying “truth” of a work of art, renée c. hoogland is concerned with the actual “work” that it does in the world (whether intentionally or not). Why do we find ourselves in tears in front of an abstract painting? Why do some cartoons of the prophet Muhammad generate worldwide political outrage? What, in other words, is the compelling force of visual images, even—or especially—if they are nonfigurative, repulsive, or downright “ugly”? Rather than describing, analyzing, and interpreting artworks, hoogland approaches art as an event that obtains on the level of actualization, presenting “retellings” of specific artistic events in the light of recent interventions in aesthetic theory, and proposing to conceive of the aesthetic encounter as a potentially disruptive, if not violent, force field with material, political, and practical consequences.
The beaux-arts mural movement in America was fueled by energetic young artists and architects returning from training abroad. They were determined to transform American art and architecture to make them more thematically cosmopolitan and technically fluid and accomplished. The movement slowly coalesced around the decoration of mansions of the Gilded Age elite, mostly in New York, and of public buildings and institutions across the breadth of the country.
The Virgin and the Dynamo: Public Murals in American Architecture, 1893-1917 is the first book in almost a century to concentrate exclusively on the beaux-arts mural movement in the United States. Beginning with a short history of the movement from its inception in Boston during the American Renaissance, Bailey Van Hook focuses on the movement's public manifestations in the period between the World's Columbian Exposition in Chicago in 1893 and the First World War.
Professor Van Hook explores different aspects of the mural movement, the concept and meaning of “decoration,” the claim that murals are inherently democratic, the shift in preference from allegory to history, the gendered concept of modernity, the ideologies behind the iconography, and, finally, the decline of the movement when it began to be seen as old fashioned and anachronistic.
The Virgin and the Dynamo raises our understanding of the beaux-arts movement to a new level. For the general reader, this illustrated history will explain many familiar representations of local and national values.
The essays in Virgin Microbe foreground thematic issues and advance recent theoretical agendas, such as the study of identity construction and the relationship between the avant-garde and mass culture, rather than focusing on biographies of individual Dadaists or centers of Dada activity. The authors represent a wider spectrum of disciplines and a broader international perspective than other recent collections on Dada. Ambitious in terms of contemporary academic interests, Virgin Microbe draws on a rich spectrum of intellectual traditions and contexts, prioritizing Dada’s metaphysical enquiries and its complicated connection to modernity.
In Virtual Memory, Homay King traces the concept of the virtual through the philosophical works of Henri Bergson, Gilles Deleuze, and Giorgio Agamben to offer a new framework for thinking about film, video, and time-based contemporary art. Detaching the virtual from its contemporary associations with digitality, technology, simulation, and speed, King shows that using its original meaning—which denotes a potential on the cusp of becoming—provides the means to reveal the "analog" elements in contemporary digital art. Through a queer reading of the life and work of mathematician Alan Turing, and analyses of artists who use digital technologies such as Christian Marclay, Agnès Varda, and Victor Burgin, King destabilizes the analog/digital binary. By treating the virtual as the expression of powers of potential and change and of historical contingency, King explains how these artists transcend distinctions between disembodiment and materiality, abstraction and tangibility, and the unworldly and the earth-bound. In so doing, she shows how their art speaks to durational and limit-bound experience more than contemporary understandings of the virtual and digital would suggest.
Between 1777 and 1816, botanical expeditions crisscrossed the vast Spanish empire in an ambitious project to survey the flora of much of the Americas, the Caribbean, and the Philippines. While these voyages produced written texts and compiled collections of specimens, they dedicated an overwhelming proportion of their resources and energy to the creation of visual materials. European and American naturalists and artists collaborated to manufacture a staggering total of more than 12,000 botanical illustrations. Yet these images have remained largely overlooked—until now.
In this lavishly illustrated volume, Daniela Bleichmar gives this archive its due, finding in these botanical images a window into the worlds of Enlightenment science, visual culture, and empire. Through innovative interdisciplinary scholarship that bridges the histories of science, visual culture, and the Hispanic world, Bleichmar uses these images to trace two related histories: the little-known history of scientific expeditions in the Hispanic Enlightenment and the history of visual evidence in both science and administration in the early modern Spanish empire. As Bleichmar shows, in the Spanish empire visual epistemology operated not only in scientific contexts but also as part of an imperial apparatus that had a long-established tradition of deploying visual evidence for administrative purposes.
Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In The Visible Word, Johanna Drucker shows how later art criticism has distorted our understanding of such works. She argues that Futurist, Dadaist, and Cubist artists emphasized materiality as the heart of their experimental approach to both visual and poetic forms of representation; by mid-century, however, the tenets of New Criticism and High Modernism had polarized the visual and the literary.
Drucker suggests a methodology closer to the actual practices of the early avant-garde artists, based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara.
Few studies of avant-garde art and literature in the early twentieth century have acknowledged the degree to which typographic activity furthered debates about the very nature and function of the avant-garde. The Visible Word enriches our understanding of the processes of change in artistic production and reception in the twentieth century.
Exploring the concept and history of visual and graphic epistemologies, this engrossing collection of essays by artists, curators, and scholars provides keen insights into the many forms of connection between visibility and legibility. With more than 130 color and black-and-white photographs, Visible Writings sheds new light on the visual dimensions of writing as well as writing's interaction with images in ways that affect our experiences of reading and seeing.
Multicultural in character and historical in range, essays discuss pre-Colombian Mesoamerican scripts, inscriptions on ancient Greek vases, medieval illuminations, Renaissance prints, Enlightenment concepts of the legible, and the Western "reading" of Chinese ideograms. A rich array of modern forms, including comics, poster art, typographic signs, scribblings in writers' manuscripts, anthropomorphic statistical pictograms, the street writings of 9/11, intersections between poetry and painting, the use of color in literary texts, and the use of writing in visual art are also addressed.
Visible Writings reaches outside the traditional venues of literature and art history into topics that consider design, history of writing, philosophy of language, and the emerging area of visual studies. Marija Dalbello, Mary Shaw, and the other contributors offer both scholars and those with a more casual interest in literature and art the opportunity, simply stated, to see the writing on the wall.
Vision and Textuality
Stephen Melville Duke University Press, 1995 Library of Congress N380.V58 1995 | Dewey Decimal 707.2
The influence of contemporary literary theory on art history is increasingly evident, but there is little or no agreement about the nature and consequence of this new intersection of the visual and the textual. Vision and Textuality brings together essays by many of the most influential scholars in the field—both young and more established writers from the United States, England, and France—to address the emergent terms and practices of contemporary art history. With essays by Rosalind Krauss, Hal Foster, Norman Bryson, Victor Burgin, Martin Jay, Louis Marin, Thomas Crow, Griselda Pollock, and others, the volume is organized into sections devoted to the discipline of art history, the implications of semiotics, the new cultural history of art, and the impact of psychoanalysis. The works discussed in these essays range from Rembrandt’s Danae to Jorge Immendorf’s Café Deutschland, from Vauxhall Gardens to Max Ernst, and from the Imagines of Philostratus to William Godwin’s novel Caleb Williams. Each section is preceded by a short introduction that offers further contexts for considering the essays that follow, while the editors’ general introduction presents an overall exploration of the relation between vision and textuality in a variety of both institutional and theoretical contexts. Among other issues, it examines the relevance of aesthetics, the current concern with modernism and postmodernism, and the possible development of new disciplinary formations in the humanities.
Contributors. Mieke Bal, John Bender, Norman Bryson, Victor Burgin, Thomas Crow, Peter de Bolla, Hal Foster, Michael Holly, Martin Jay, Rosalind Krauss, Françoise Lucbert, Louis Martin, Stephen Melville, Griselda Pollock, Bill Readings, Irit Rogoff, Bennet Schaber, John Tagg
Vision is not just a simple recognition of what passes through our field of sight, the reflection and observation of light and shape. Even before Freud posited dreams as a way of “seeing” even as we sleep, the writings of philosophers, artists, and scientists from Goethe to Cézanne have argued that to understand vision as a mere mirroring of the outside world is to overlook a more important cognitive act of seeing that is dependent on time.
Bringing together a renowned international group of contributors, Vision in Motion explores one of the most vexing problems in the study of vision and cognition: To make sense of the sensations we experience when we see something, we must configure many moments into a synchronous image. This volume offers a critical reexamination of seeing that restores a concept of “vision in motion” that avoids reducing the sensations we experience to narrative chronological sequencing. The contributors draw on Hume, Bergson, and Deleuze, among others, to establish a nuanced idea of how we perceive.
The Vision of the Soul
James Matthew Wilson Catholic University of America Press, 2017 Library of Congress BH39.W555 2017 | Dewey Decimal 111.85
Ours is an age full of desires but impoverished in its understanding of where those desires lead—an age that claims mastery over the world but also claims to find the world as a whole absurd or unintelligible. In The Vision of the Soul, James Matthew Wilson seeks to conserve the great insights of the western tradition by giving us a new account of them responsive to modern discontents. The western— or Christian Platonist—tradition, he argues, tells us that man is an intellectual animal, born to pursue the good, to know the true, and to contemplate all things in beauty. Wilson begins by reconceiving the intellectual conservatism born of Edmund Burke’s jeremiad against the French Revolution as an effort to preserve the West’s vision of man and the cosmos as ordered by and to beauty. After defining the achievement of that vision and its tradition, Wilson offers an extended study of the nature of beauty and the role of the fine arts in shaping a culture but above all in opening the human intellect to the perception of the form of reality. Through close studies of Theodor W. Adorno and Jacques Maritain, he recovers the classical vision of beauty as a revelation of truth and being. Finally, he revisits the ancient distinction between reason and story-telling, between mythos and logos, in order to rejoin the two.
Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition.
In this original and lucid account of how Spanish painters of the 16th and 17th centuries dealt with mystic visions in their art, and of how they attempted to "represent the unrepresentable", Victor Stoichita aims to establish a theory of visionary imagery in Western art in general, and one for the Spanish Counter-Reformation in particular. He reveals how the spirituality of the Counter-Reformation was characterized by a rediscovery of the role of the imagination in the exercise of faith. This had important consequences for painters such as Velazquez, Zurbaran and El Greco, leading to the development of ingenious solutions for visual depictions of mystical experience. This was to crystallize into an overtly meditative and didactic pictorial language.
That Spanish painting is both cerebral and passionate is due to the particular historical forces which shaped it. Stoichita's account will be of crucial interest not just to scholars of Spanish art but to anyone interested in how art responds to ideological pressures.
De schilderijen van de Nederlandse kunstenaar Albert Eckhout zijn onlangs getoond op diverse internationale tentoonstellingen in Denemarken, Brazilië en Nederland. Echter, de meest recente monografie van deze kunstenaar, die tijdens de periode dat Brazilië gekoloniseerd was door Nederland en bestuurd werd door de West Indie Compagnie, komt uit 1938. Visions of Savage Paradise is een essentiële hedendaagse en rijk geïllustreerde analyse van Eckhout's schilderijen en tekeningen, die een actuele en grondige analyse geeft van de kunstenaar en zijn Braziliaanse werken.Het boek bevat een biografische analyse van de kunstenaar en stelt Eckhout's natuurhistorische tekeneningen en etnografische voorstellingen aan de orde. In plaats van alleen deze kunstenaar en zijn werk te behandelen, vergelijkt de auteur zijn werk op het gebied van inhoud en stijl met andere exotische schilders, en bespreekt ze ook Eckhout's stilistische overeenkomsten met andere zeventiende-eeuwse Nederlandse schilders, waaronder Jacob van Campen.Dit boek is niet alleen interessant voor studenten en wetenschappers van de zeventiende-eeuwse Nederlandse schilderkunst, maar het is ook een interessante bron voor mensen die geïnteresseerd zijn in visuele antropologie en de geschiedenis van de West Indische Compagnie.
In this ambitious and imaginative study, Margaretta M. Lovell analyzes the large body of accomplished, sometimes startling, often brilliant work of American artists drawn to Venice's ragged splendor in the last century. Including major works by such diverse and talented painters as James McNeill Whistler, John Singer Sargent, and Maurice Prendergast, these richly varied paintings portray sleepy canals, architectural monuments, and scenes of picturesque everyday life while they also reveal surprising aspects of American culture.
This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.
Eric Mantle presents the basics of classical theory in a clear and concise manner for all beginning drawing and painting students. His book features diagrams that illustrate every concept. Students will see the complexities of color theory and understand how to create the illusion of volume and depth on a 2-dimensional surface. “As an art student,” Professor Mantle recalls, “I was frequently frustrated by instructional books that gave lengthy verbal descriptions of visual concepts and then showed small and/or unclear diagrams of those concepts. As an art teacher, I found that my students would gain a clearer understanding of a visual concept if my verbal explanation was combined with a diagram of that concept.”
A Visual Guide to Classical Art Theory is great for both traditional and non-traditional media. Each page, theory and diagram represents a different tool for the artist to use. Through their use, the artist will find an infinite number of solutions. Artists also may use the book to create a trompe-l’oeil effect in graffiti art or the illusion of volume and depth on the computer. A Visual Guide to Art Theory is presented in a unique, non-verbal format that clearly illustrates the effect of perspective on color, light and shade.
The Visual is Political examines the growth of feminist photography as it unfolded in Britain during the 1970s and 1980s. This period in Britain was marked by instability following the collapse of the welfare state, massive unemployment, race riots, and workers’ strikes. However, this was also a time in which various forms of social activism emerged or solidified, including the Women’s Movement, whose members increasingly turned to photography as a tool for their political activism. Rather than focusing on the aesthetic quality of the images produced, Klorman-Eraqi looks at the application of feminist theory, photojournalism, advertising, photo montage, punk subculture and aesthetics, and politicized street activity to emphasize the statement and challenge that the photographic language of these works posed. She shows both the utilitarian uses of photography in activism, but also how these same photographers went on to be accepted (or co-opted) into the mainstream art spaces little by little, sometimes with great controversy. The Visual is Political highlights the relevance and impact of an earlier contentious, creative, and politicized moment of feminism and photography as art and activism.
Visual Time offers a rare consideration of the idea of time in art history. Non-Western art histories currently have an unprecedented prominence in the discipline. To what extent are their artistic narratives commensurate with those told about Western art? Does time run at the same speed in all places? Keith Moxey argues that the discipline of art history has been too attached to interpreting works of art based on a teleological categorization—demonstrating how each work influences the next as part of a linear sequence—which he sees as tied to Western notions of modernity. In contrast, he emphasizes how the experience of viewing art creates its own aesthetic time, where the viewer is entranced by the work itself rather than what it represents about the historical moment when it was created. Moxey discusses the art, and writing about the art, of modern and contemporary artists, such as Gerard Sekoto, Thomas Demand, Hiroshi Sugimoto, and Cindy Sherman, as well as the sixteenth-century figures Pieter Bruegel the Elder, Albrecht Dürer, Matthias Grünewald, and Hans Holbein. In the process, he addresses the phenomenological turn in the study of the image, its application to the understanding of particular artists, the ways verisimilitude eludes time in both the past and the present, and the role of time in nationalist accounts of the past.
Echoing and expanding the aims of the first volume, Visualities: Perspectives on Contemporary American Indian Film and Art, this second volume contains illuminating global Indigenous visualities concerning First Nations, Aboriginal Australian, Maori, and Sami peoples. This insightful collection of essays explores how identity is created and communicated through Indigenous film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities Two draws on American Indian studies, film studies, art history, cultural studies, visual culture studies, women’s studies, and postcolonial studies. Among the artists and media makers examined are Tasha Hubbard, Rachel Perkins, and Ehren “Bear Witness” Thomas, as well as contemporary Inuit artists and Indigenous agents of cultural production working to reimagine digital and social platforms. Films analyzed include The Exiles, Winter in the Blood, The Spirit of Annie Mae, Radiance, One Night the Moon, Bran Nue Dae, Ngati, Shimásání, and Sami Blood.
In recent years, works by American Indian artists and filmmakers such as Jaune Quick-To-See Smith, Edgar Heap of Birds, Sherman Alexie, Shelley Niro, and Chris Eyre have illustrated the importance of visual culture as a means to mediate identity in contemporary Native America. This insightful collection of essays explores how identity is created and communicated through Native film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities: Perspectives on Contemporary American Indian Film and Art draws on American Indian Studies, American Studies, Film Studies, Cultural Studies, Women’s Studies, and Postcolonial Studies. Among the artists examined are Hulleah J. Tsinhnahjinnie, Eric Gansworth, Melanie Printup Hope, Jolene Rickard, and George Longfish. Films analyzed include Imprint, It Starts with a Whisper, Mohawk Girls, Skins, The Business of Fancydancing, and a selection of Native Latin films.
Visual anatomy books have been a staple of medical practice and study since the mid-sixteenth century. But the visual representation of diseased states followed a very different pattern from anatomy, one we are only now beginning to investigate and understand. With Visualizing Disease, Domenico Bertoloni Meli explores key questions in this domain, opening a new field of inquiry based on the analysis of a rich body of arresting and intellectually challenging images reproduced here both in black and white and in color.
Starting in the Renaissance, Bertoloni Meli delves into the wide range of figures involved in the early study and representation of disease, including not just men of medicine, like anatomists, physicians, surgeons, and pathologists, but also draftsmen and engravers. Pathological preparations proved difficult to preserve and represent, and as Bertoloni Meli takes us through a number of different cases from the Renaissance to the mid-nineteenth century, we gain a new understanding of how knowledge of disease, interactions among medical men and artists, and changes in the technologies of preservation and representation of specimens interacted to slowly bring illustration into the medical world.
Images play a key role in political communication and the ways we come to understand the power structures that shape society. Nowhere is this more evident than in the process of empire building, in which visual language has long been a highly effective means of overpowering another culture with one’s own values and beliefs.
With Visualizing Portuguese Power, Urte Krass and a group of contributors examine the visual arts within the Portuguese empire between the sixteenth and eighteenth centuries. With a focus on the political appropriation of Portuguese-Christian art within the colonies, the book looks at how these and other objects could be staged to generate new layers of meaning. Beyond religious images, the book shows that the appropriation of the visual arts to reinforce important political concepts also took place in the outside the religious sphere, including adaptations of local artistic customs to reinforce Portuguese power.
The French Revolution was marked by a wealth of imagery and visual symbolism that inspired the masses to fight for freedom. Visualizing the Revolution surveys the rich and multifaceted visual culture of the French Revolution, exploring its creation and how it conveyed the new revolutionary sensibilities of the era.
Unlike most studies on art of the French Revolution, Visualizing the Revolution embraces a wide range of artistic genres—including prints, architecture, painting, and sculpture—and also draws upon archival documents to investigate the period’s aesthetic concerns. The authors break new ground in methodology and interpretative practice as they tease out the web of connections between these various historical artifacts and argue for the central place of the arts in the transmission of ideas and the political manipulation of the populace. The book translates the provocatively new visual language revealed in these artworks and writings and shows how its emphasis on metaphor, allegory, and symbolism transformed French mass visual culture. An innovative and lushly illustrated study, Visualizing the Revolution is a worthy new contribution to scholarship on the French Revolution and the history of French art.