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Visual Culture |
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"Those who thought it awful that the events of September 11th should have reminded people of the movies, those who thought it a condemnation of our taste and irrefutable proof that we should reform our popular entertainment, were undoubtedly as well meaning as they were entirely wrong," suggests Daniel Cottom in his provocative essay "To Love to Hate" (Representations 80). From similarly interdisciplinary perspectives, the articles grouped here consider the visual evidence of culture, past and present, variously examining the artifacts of traditional arts, popular and folk culture, archaeology, architecture, and cities themselves.
Elizabeth
Abel,
"Shadows," Fall 2003, 84: 166-99.
David
Antin, "Biography," Fall 1986, 16: 42-49.
Carol
Armstrong, "Reflections on the Mirror: Painting, Photography, and the
Self-Portraits of Edgar Degas," Winter 1988, 22: 108-41.
Ulrich
Baer, "To Give Memory a Place: Holocaust Photography and the Landscape
Tradition," Winter 2000, 69: 38-62.
Leonard
Barkan, "The Beholder's Tale: Ancient Sculpture, Renaissance
Narratives," Fall 1993, 44: 133-66.
Emma Barker, "Reading the Greuze Girl: The Daughter's Seduction," Winter 2012, 117: 86-119.
Andrew E. Barshay, "The Painted Gulag: Kazuki Yasuo and The Siberia Within Me," Summer 2012, 119: 60-91.
Peter
Benson, "Freud and the Visual," Winter 1994, 45: 101-116.
Harry
Berger Jr., "Fictions of the Pose: Facing the Gaze in Early Modern
Portraiture," Spring 1994, 46: 87-120.
Harry
Berger Jr., "The System of Early Modern Painting," Spring 1998, 62:
31-57.
Charles
Bernheimer, "Degas's Brothels: Voyeurism and Ideology," Fall 1987,
20: 158-86.
Stephen Best,
"Neither Lost nor Found: Slavery and the Visual Archive," Winter 2010, 113: 150-163.
Benjamin
Binstock,
"Seeing Representations; or, The Hidden Master in Rembrandt’s Syndics,"
Summer 2003, 83: 1-37.
R.
Howard Bloch and Frances Ferguson, eds., Misogyny, Misandry, and Misanthropy,
special issue, Fall 1987, number 20.
Susan
Blood,
"The Precinematic Novel: Zola's La Bête humaine,"
Winter 2006, 93: 49-75.
Christopher
Braider, "Cet hymen différé: The Figuration of Authority in
Corneille's Le Cid," Spring 1996, 54: 28-56.
Katherine
Breen,
"Returning Home from Jerusalem: Matthew Paris's First Map of Britain in Its Manuscript Context,"
Winter 2005, 89: 59-93.
James E. B.
Breslin, "The Trials of Mark Rothko," Fall 1986, 16: 1-41.
David A.
Brewer, "Making Hogarth Heritage," Fall 2000, 72: 21-63.
Christopher
Bush,
"The Ethnicity of Things in America's Lacquered Age," Summer 2007, 99: 74-98.
Alberto
Cambrosio, Daniel Jacobi, and Peter Keating,
"Arguing with Images: Pauling's Theory of Antibody Formation,"
Winter 2005, 89: 94-130.
Lisa
Cartwright, "'Experiments of Destruction': Cinematic Inscriptions of
Physiology," Fall 1992, 40, 129-52.
Kevin Chua,
"In the Shadow of David's Brutus," Winter 2013, 121: 107-39.
Eileen
Cleere,
"Dirty Pictures: John Ruskin, Modern Painters, and the Victorian Sanitation of Fine Art," Spring 2002, 78: 116-139.
Carol J.
Clover and Michael Rogin, eds., "Entertaining History: American Cinema
and Popular Culture," special forum, Winter 1990, 29: 1-123.
Carol J.
Clover, "Her Body, Himself: Gender in the Slasher Film," Fall
1987, 20: 187-228.
J.D.
Connor, "'The Projections': Allegories of Industrial Crisis in
Neoclassical Hollywood," Summer 2000, 71: 48-76.
Huey Copeland,
"Glenn Ligon and Other Runaway Subjects," Winter 2011, 113: 73-110
Huey Copeland and Krista Thompson,
"Perpetual Returns: New World Slavery and the Matter of the Visual," Winter 2011, 113: 1-15
Daniel
Cottom,
"To Love to Hate," Fall 2002, 80: 119-38.
Christopher
Craft,
"Come See About Me: Enchantment of the Double in The Picture of Dorian Gray,"
Summer 2005, 91: 109-136.
Jonathan
Crewe, "In the Field of Dreams: Transvestism in Twelfth Night and
The Crying Game," Spring 1995, 50: 101-21.
Thomas
Crow, "Codes of Silence: Historical Interpretation and the Art of
Watteau," Fall 1985, 12: 2-14.
Stuart
Culver, "What Manikins Want: The Wonderful World of Oz and The
Art of Decorating Dry Goods Windows," Winter 1988, 21: 97-116.
Jacques de
Caso, "The Written Drawing: The Work of Théophile Bra," Fall 2000, 72: 82-96.
Lorraine
Daston and Peter Galison, "The Image of Objectivity," Fall 1992, 40:
81-128.
James
Elkins, "On Visual Desperation and the Bodies of Protozoa," Fall
1992, 40: 33-56.
Josh
Ellenbogen,
"Camera and Mind," Winter 2008, 101: 86-115.
Philip
Fisher, "Pins, a Table, Works of Art," Winter 1983, 1: 43-58.
Aaron
Fogel, "Bruegel's The Census at Bethlehem and the Visual Anticensus,"
Spring 1996, 54: 1-27.
Douglas
Fordham,
"Costume Dramas: British Art at the Court of the Marathas," Winter
2008, 101: 57-85.
Simon Goldhill, "A Writer's Things: Edward Bulwer Lytton and the Archaeological Gaze; or, What's in a Skull?", Summer 2012, 119: 92-118.
Mike Goode, "The Joy of Looking: What Blake's Pictures Want," Summer 2012, 119: 1-36.
Stephen
Greenblatt, "Exorcism into Art," Fall 1985, 12: 15-23.
Darcy Grimaldo
Grigsby,
"Negative-Positive Truths," Winter 2011, 113: 16-38.
Darcy Grimaldo
Grigsby,
"Afterthought: Patina, Painting, and Portentous Somethings," Spring 2002, 78: 140-144.
Valentin
Groebner, "Inside Out: Clothes, Dissimulation, and the Arts of Accounting
in the Autobiography of Matthäus Schwartz, 1496-1574," Spring 1999, 66:
100-21.
Suzanne
Guerlac,
"The Useless Image: Bataille, Bergson, Magritte,"
Winter 2007, 97: 28-56.
Richard
Helgerson, "Soldiers and Enigmatic Girls: The Politics of Dutch Domestic
Realism, 1650-1672," Spring 1997, 58: 49-87.
Andrea Henderson, "Magic Mirrors: Foramlist Realism in Victorian Physics and Photography," Winter 2012, 117: 120-150.
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