A Concise Companion to Visual Culture. Группа авторов
Читать онлайн книгу.
books and articles on visual culture, media aesthetics, and iconology. He teaches literature, film, and the visual arts at the University of Chicago, where he is the editor of Critical Inquiry. His books include Iconology, Picture Theory, What Do Pictures Want?, and Image Science. He is currently at work on a book entitled Seeing Through Madness: Insanity, Media, and Visual Culture.
Derek Conrad Murray is an interdisciplinary theorist specializing in the history, theory, and criticism of contemporary art and visual culture. He is professor of history of art and visual culture at the University of California, Santa Cruz. Murray is the author of Queering Post‐Black Art: Artists Transforming African–American Identity after Civil Rights (2016) and Mapplethorpe and the Flower: Radical Sexuality and the Limits of Control (2020).
Franny Nudelman is professor in the Department of English Language and Literature at Carleton University in Ottawa, where she teaches US culture and writes about war, protest, and documentary. She is the author of John Brown’s Body: Slavery, Violence, and the Culture of War (2004) and Fighting Sleep: The War for the Mind and the US Military (2019) and coeditor, with Sara Blair and Joseph Entin, of Remaking Reality: US Documentary Culture after 1945 (2018).
Michael Peterson is an artist and a scholar of performance and popular cultures. He is professor of art and founding member in Interdisciplinary Theater Studies at the University of Wisconsin‐Madison. Together with Laurie Beth Clark, he co‐founded the arts collaborative Spatuala & Barcode (www.spatulaandbarcode.net), which has produced social practice participatory projects around the world. The two of them have published in diverse journals and collections and co‐edited a special issue of Performance Research titled “On Generosity.”
Lane Relyea is an art historian and critic who has written about contemporary art for more than thirty‐five years for a variety of books, journals, and museum catalogues. He is a member of the College Art Association and from 2012 to 2015 served as editor‐in‐chief of its quarterly publication Art Journal. His book Your Everyday Art World was published in 2013.
Scott C. Richmond is associate professor in the Cinema Studies Institute at the University of Toronto, where his work focuses on film and media theory, experimental media practice, and the history of computational media. He has published in Cinema Journal, the Journal of Visual Culture, and Discourse. He is the author of two books: Cinema’s Bodily Illusions: Flying, Floating, and Hallucinating (2016), and Find Each Other: Networks, Affects, and Other Queer Encounters (forthcoming).
A. Joan Saab is the Susan B. Anthony Professor of Art and Art History and vice provost of academic affairs at the University of Rochester. She is the author of For the Millions: American Art and Culture Between the Wars (2004, 2nd edn. 2009); Searching for Siqueiros, written on the digital publishing platform Scalar; and Objects of Vision: Making Sense of What We See (2020).
Marquard Smith is a founder and the editor‐in‐chief of Journal of Visual Culture, programme leader of the Museums and Galleries in Education MA at the UCL Institute of Education, London, and professor of artistic research at Vilnius Academy of Arts, Lithuania.
Sarah E. K. Smith is assistant professor in communication and media studies at Carleton University in Canada. Her research examines contemporary art, cultural labor, museums, and cultural diplomacy. Recent publications include General Idea: Life and Work (2016). She is co‐founder of the North American Cultural Diplomacy Initiative, a Fellow of the Canadian Global Affairs Institute, and in 2015 held the Canada‐US Fulbright Visiting Research Chair in Public Diplomacy at the University of Southern California.
Braxton Soderman is assistant professor in the Department of Film & Media Studies at the University of California, Irvine. He researches digital media, video games, new media aesthetics, the history of technology, and critical theory. He is the author of Against Flow: Video Games and the Flowing Subject (2021). He has published articles in the Journal of Visual Culture, Space and Culture, differences: A Journal of Feminist Cultural Studies, Games and Culture, Transformative Works and Cultures, and elsewhere.
Marita Sturken is professor in the Department of Media, Culture, and Communication at New York University, where she teaches courses in visual culture, cultural memory, and consumerism. She is the author of Tangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of Remembering (1997) and Tourists of History: Memory, Kitsch, and Consumerism From Oklahoma City to Ground Zero (2007) and co‐author, with Lisa Cartwright, of Practices of Looking: An Introduction to Visual Culture (3rd edn. 2018).
Norman Vorano is associate professor and Head of the Department of Art History and Art Conservation at Queen’s University in Canada. His work focuses on Indigenous arts of North America, museum culture, and material studies. He edited Inuit Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic (2011) and curated Picturing Arctic Modernity: North Baffin Drawings from 1964 (2017–19). From 2005 to 2014 he was the Curator of Contemporary Inuit Art at the Canadian Museum of History, Canada’s national museum.
Sharon Willis is professor of art history and visual and cultural studies at the University of Rochester. A co‐editor of Camera Obscura, she is the author of Marguerite Duras: Writing on the Body; High Contrast: Race and Gender in Contemporary Hollywood Films; and The Poitier Effect: Racial Melodrama and Fantasies of Reconciliation.
Catherine Zuromskis is associate professor in the School for Photographic Arts and Sciences at Rochester Institute of Technology. She is the author of Snapshot Photography: The Lives of Images (2013), and The Factory (2012). Her writings on photography, film, and visual culture have appeared in American Quarterly, Archives of American Art Journal, Art Journal, The Velvet Light Trap, Photography & Culture, Criticism and various edited volumes.
Introduction
A. Joan Saab, Aubrey Anable, and Catherine Zuromskis
This volume brings together the work of established and emerging scholars working across visual studies. Also called visual culture, and sometimes visual culture studies, visual studies is an interdisciplinary field that takes as its subject visual objects and practices of vision and visuality. For our purposes here, we identify visual studies as the interdisciplinary field that takes as its object the diverse and dynamic arena of visual culture. Whatever terminology one uses, we contend that the field and its objects of study are necessarily bound up with each other in ways that are inherently political. This interrelation is one of the fundamental premises on which visual studies was founded: that acts of looking and acts of making things visible (or invisible) matter.
Visual studies emerged in the 1970s and 1980s as a way to connect Marxist, feminist, poststructural, psychoanalytic, and postcolonial theories to the study of art, film, and media and to visual objects and the practices of visuality itself, broadly conceived of. Its genesis was informed by a number of revolutionary developments in humanities scholarship in the late twentieth century, including the cultural studies of the Birmingham School for Social Research (demonstrated in the work of scholars such as Stuart Hall, Angela McRobbie, and Raymond Williams), psychoanalytic film theory (as exemplified by Laura Mulvey and Christian Metz), the Marxist and feminist turns in art history (embodied in the work of Meyer Schapiro, T. J. Clark, Griselda Pollack, and Linda Nochlin, among others), the translation and popularization of key texts in French cultural theory (such as those of Michel Foucault, Roland Barthes, Louis Althusser, Jacques Lacan) and Frankfurt School philosophy (represented by Walter Benjamin, Theodor Adorno, Juergen Habermas, and Sigfried Kracauer). Pioneers of visual studies similarly imagined it as a renegade field, pushing at the boundaries of formal disciplines to challenge established paradigms of looking and seeing. Also central to the foundation of visual culture