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A General Theory of Visual Culture
What is cultural about vision--or visual about culture? In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A General Theory of Visual Culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way; what Davis calls "visuality" is the visual perspective from which certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into be...
Visuality and Virtuality
A provocative and challenging new conceptual framework for the study of images This book builds on the groundbreaking theoretical framework established in Whitney Davis’s acclaimed previous book, A General Theory of Visual Culture, in which he shows how certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. Here, Davis uses revealing archaeological and historical case studies to further develop his theory, presenting an exacting new account of the interaction that occurs when a viewer looks at a picture. Davis argues that pictoriality—the depiction intended by its maker to be seen—emerges at a particular standpoint in space and time. Reconstru...
From Point to Pixel
In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn't the message - what really matters is the degree to which the viewer can sense a creative hand in the art.
Sculptural Seeing
Demonstrating the influence of optical science on medieval relief sculpture, this groundbreaking book reveals that the concepts that informed the codification of perspective by Renaissance painters were already being employed by sculptors centuries earlier.
Jet Age Aesthetic
A stunning look at the profound impact of the jet plane on the mid-century aesthetic, from Disneyland to Life magazine Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an aesthetic that circulated on the ground below. Visual and media culture, including Eero Saarinen’s airports, David Bailey’s photographs of the jet set, and Ernst Haas’s experiments in color photojournal...
Like a Little Dog
Introduction : Warhol's non-human life -- "Like a little dog" -- Factory badlands -- Machines, animal and vegetal -- "Philosophy of the fragile" -- Queer beauty and extinction -- Conclusion : the python priestess.
Warhol's Working Class
Warhol and class -- Varieties of pop -- Warhol's participatory culture -- Warhol's brand images -- Warhol, modernism, egalitarianism -- Conclusion: Warhol's neoliberalism
International Journal for Digital Art History: Issue 3, 2018
Art History is centrally concerned with a vast array of three-dimensional objects, such as sculptures, and spaces, such as architecture. Digital technologies allow the creation of virtual spaces, which in turn allow us to simulate and compare aspects of a visual culture's three-dimensional timespace that cannot be communicated as a single, still image. The third issue, thus, focusses on the third dimension in Art History, and the digital realm that continues to mediate and transform it.
Seeing Color in Classical Art
The remains of ancient Mediterranean art and architecture that have survived over the centuries present the modern viewer with images of white, the color of the stone often used for sculpture. Antiquarian debates and recent scholarship, however, have challenged this aspect of ancient sculpture. There is now a consensus that sculpture produced in the ancient Mediterranean world, as well as art objects in other media, were, in fact, polychromatic. Color has consequently become one of the most important issues in the study of classical art. Jennifer Stager's landmark book makes a vital contribution to this discussion. Analyzing the dyes, pigments, stones, earth, and metals found in ancient art works, along with the language that writers in antiquity used to describe color, she examines the traces of color in a variety of media. Stager also discusses the significance of a reception history that has emphasized whiteness, revealing how ancient artistic practice and ancient philosophies of color significantly influenced one another.
Painting the Inhabited Landscape
The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about thei...
