Visual culture : images and interpretations
Middletown (Conn.) : Wesleyan University Press, 1994, 1 vol. (xxix-429 p.).
This anthology collects the work of fifteen lecturers who contributed to a National Endowment for the Humanities Summer Institute entlited « Theory and interpretation in the visual arts », held at the University of Rochester during july and august 1989. Lecturers, organizers, participants, and visitors met daily for six weeks to chart, discuss, and argue over the impact of contemporary theory on the discipline of art history. We came together from an assortment of academic departments (art history, studio arts, philosophy, history, film studies, classics, theater, anthropology, psychology, and literary studies) and from a variety of educational institutions, from technical schools to graduate programs. Especially important to the organizers of the institute was the mix of geographical areas and of international perspectives, for we were concerned about the potential isolation of American art history from European cultural studies.
This was the second time such an institute was held, and the second time the editors collected the lectures given for the occasion. Visual theory : painting and interpretation (edited by Norman Bryson, Michael Ann Holly, and Keith Moxey) was published in 1991 by Polity Press in Britain and Harper Collins in the United States as a result of the first symposium, held at Hobart and William Smith Colleges in 1987. All of the essays anthologized in that volume were « theoretical » ; most concentrated on questions arising from debates in analytic philosophy and phenomenology. In this second anthology, we focus on the impact of recent post-structuralist thinking on traditional art historical analysis.
Both institutes were designed to encourage discussion of theoretical perspectives in art history. The organizers of the two symposia felt that not many other forums existed for debating the issues that have enlivened so many other fields in the humanities and social sciences, from history, philosophy, and anthropology to literary studies. We simply wanted to see what would happen to the conception of the discipline as a discipline if theoretical issues were brought to the fore.
Norman Bryson is Professor of Fine Arts at Harvard University and author of Looking at the overlooked : four essays on still life painting (1990).
Michael Ann Holly is Associate Professor of Art History, University of Rochester, and author of Panofsky and the Foundation of Art History (1984).
Keith Moxey, Professor of Art History at Barnard College and Columbia University, is author of Peasants, warriors, and wives : popular imagery in the reformation (1989)
Table des matières :
Feminism/Foucault – Surveillance/sexuality, Griselda Pollock
Men’s work ? Masculinity and modernism, Lisa Tickner
The discontinuous city : picturing and the discursive field, John Tagg
Hieronymus Bosch and the « World upside down » : the case of The garden of earthly delights, Keith Moxey
Observations on style and history in french painting of the male nude, 1785-1794, Thomas Crow
The renunciation of reaction in Girodet’s Sleep of endymion, Whitney Davis
The theater of Revolution : a new interpretation of Jacques-Louis David’s Tennis court oath, Wolfgang Kemp
Géricault and « masculinity », Norman Bryson
Strategies of identification, Ernst Van Alphen
Fassbinder and Lacan : a reconsideration of gaze, look, and image, Kaja Silverman
Feminism, psychoanalysis, and the study of popular culture, Constance Penley
The ecology of images, Andrews Ross
Wölfflin and the imagining of the baroque, Michael Ann Holly
Dead flesh, or the smell of painting, Mieke Bal
Form and gender, David Summers
Axe de recherches :
- Axe transversal : Cultures visuelles