A landmark collection of essays on the intersections of visual art, cultural studies, and environmental history in America.
Issues of ecology--both as they appear in the works of nature writers and in the works of literary writers for whom place and the land are central issues--have long been of interest to literary critics, and have given rise over the last two decades to the now firmly established field of ecocriticism. The essays in this volume, written by art historians and literary critics, seek to bring the study of American art into the expanding discourse of ecocriticism.
A Keener Perception offers a series of case studies on topics ranging from John White's watercolors of the Carolina landscape executed during Sir Walter Raleigh's 1585 Roanoke expedition to photographs by environmental activist Eliot Porter. Rather than merely resurrect past instances of ecologically attuned art, this volume features essays that resituate many canonical figures, such as Thomas Eakins, Aaron Douglas, and Thomas Cole, in an ecocritical light by which they have yet to be viewed. Studying such artists and artworks through an ecocritical lens not only provides a better understanding of these works and the American landscape, but also brings a new interpretive paradigm to the field of art history--a field that many of these critics believe would do well to embrace environmental concerns as a vital area of research.
In highlighting the work of scholars who bring ecological agendas to their study of American art, as well as providing models for literary scholars who might like to better incorporate the visual arts into their own scholarship and teaching, A Keener Perception is truly a landmark collection--timely, consequential, and controversial.
Is all knowledge the product of thought? Or can the physical interactions of the body with the world produce reliable knowledge? In late-nineteenth-century Europe, scientists, artists, and other intellectuals theorized the latter as a new way of knowing, which Zeynep Çelik Alexander here dubs “kinaesthetic knowing.”
In this book, Alexander offers the first major intellectual history of kinaesthetic knowing and its influence on the formation of modern art and architecture and especially modern design education. Focusing in particular on Germany and tracing the story up to the start of World War II, Alexander reveals the tension between intellectual meditation and immediate experience to be at the heart of the modern discourse of aesthetics, playing a major part in the artistic and teaching practices of numerous key figures of the period, including Heinrich Wölfflin, Hermann Obrist, August Endell, László Moholy-Nagy, and many others. Ultimately, she shows, kinaesthetic knowing did not become the foundation of the human sciences, as some of its advocates had hoped, but it did lay the groundwork—at such institutions as the Bauhaus—for modern art and architecture in the twentieth century.