Visual Theory

BRYSON Norman (ed.), HOLLY Michael Ann (ed.), MOXEY Keith (ed.)

Visual theory : painting and interpretation

Cambridge : Polity Press, 1991, IX-286 p.

ISBN 978-0-7456-0660-6

C 1085

Résumé :

In recent years there has been a growing interest in problems of theory and method in the field of art history. Semiology, phenomenology, feminism, analytical philosophy and marxism have all contributed to a lively debate among art historians and have helped to stimulate new research.
This volume draws together some of the authors who have been most prominent and influential in recent methodological debates and enables them to develop their views. The contributions include Norman Bryson on semiology and the limits of meaning ; Arthur C. Danto on description and pictorial perception ; Rosalind Krauss on the reception of recent french critical theory ; Linda Nochlin on gender and power ; Michael Podro on depiction ; David Summers on image and metaphor ; and Richard Wollheim on the role of the spectator. Each of these major contributions is critically discussed by a number of other scholars in the field.
The result is a unique and engaging volume which will establish itself as a key reference point for the discussion of art historical method. It will be of interest not only to students of art history and the visual arts, but also to students in literature, cultural studies and the humanities generally.

Norman Bryson is Professor of Art History at Harvard University.
Michael Ann Holly teaches in the Department of Art and Art History at the University of Rochester.
Keith Moxey teaches in the Department of Art History, Barnard College at Columbia University.

Table des matières :

1. Women, art, and power, Linda Nochlin
Commentary : Will (S)he stoop to conquer ? Preliminaries toward a reading of Edward Hopper’s Office at Night, Ellen Wiley Todd
Commentary : Linda Nochlin’s Women, Art, and Power, Ludmilla Jordanova

2. Semiliogy and visual interpretation, Norman Bryson
Commentary : Reflection on Bryson, Stephen Melville

3. Using language to do business as usual, Rosalind Krauss
Commentary : The politics of arbitrariness, Norman Bryson

4. What the spectator sees, Richard Wollheim
Commentary : Painting after art ? Comments on Wollheim, Flin Schier
Commentary : Richard Wollheim’s ‘seeing-In’ and ‘representation’, Martin Kelly

5. Depiction and the golden calf, Michael Podro
Commentary : Poussin and the rhetoric of depiction : a response to Michael Podro, Timothy Erwin

6. Description and the phenomenology of perception, Arthur C. Danto
Commentary : Minding the animals -or, can pigeons be hopeful ?, Martin Donogho
Commentary : The aesthetics of indiscernibles, Garry Hagberg

7. Real metaphor : towards a redefinition of the ‘conceptual’ image, David Summers
Commentary : On the critical value of categorie : a response to David Summers, David Radcliffe
Commentary : Real artefacts : a comment on ‘conceptual art’, Shelly Errington

Axe de recherches :

  • axe transversal : Cultures visuelles

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