From Art History to Visual Culture Studies? Questions of History, Theory, and Practice

2009 ◽  
Vol null (26) ◽  
pp. 163-210
Author(s):  
Marquard Smith
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Theory And Practice ◽  
Culture Studies ◽  
Visual Culture Studies

scholarly journals A descriptive mode in art and the issue of a representation

2020 ◽  
pp. 11-17
Author(s):  
O. V. Bezzubova ◽  
Keyword(s):  
Visual Culture ◽  
Art History ◽  
American Art ◽  
Pictorial Representation ◽  
Research Approach ◽  
Work Of Art ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Wide Range ◽  
New Research

The predominant for XX century art studies tradition was seriously reconsidered during the 1970– 1980s during the so called «new art history» development, when many received concepts were called into question. A notion of descriptiv e mode of painting proposed by an American art historian S. Alpers is of great interest in this context because it allows us to revise the homogeneous development of European art. While elaborating the concept of descriptive mode of painting, Alpers took under consideration a wide range of historical and cultural sources thus contributed to the new research approach nowadays known under the title of visual culture studies. It is not less important that she also focused on the issue of pictorial representation, which inquires the essence of the work of art.

scholarly journals Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn

2019 ◽  
pp. 5-23
Author(s):  
Charolotta Krispinsson
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Scientific Discipline ◽  
Self Control ◽  
Simple Fact ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Art Historians ◽  
History Of ◽  
Material Turn

Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 

Cinehistory and Experiments on Film

2012 ◽  
Vol 11 (3) ◽  
pp. 288-306 ◽  
Author(s):  
Hanna Rose Shell
Keyword(s):  
Visual Culture ◽  
Social Life ◽  
Visual Media ◽  
Theory And Practice ◽  
Physical Sciences ◽  
Video Installation ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
The Social ◽  
Film And Video

This article considers what time-based audio-visual media can bring to historical scholarship in science and visual culture studies. The author argues that the history and critical analysis of cinematography and other time-based optical research methods used in the social, life and physical sciences, are productively accomplished through a simultaneously theory- and practice-bound model of multimedia history. She introduces the concept and term cinehistory through analysis of her own film and video installation work, focusing specifically on her Experiments on Film project (2004–2011), a series of multisensory, filmic histories of physiologist and inventor Étienne-Jules Marey’s development of underwater chronophotography in the 1890s.

VISUAL CULTURE STUDIES IN MESOAMERICA

2009 ◽  
Vol 20 (2) ◽  
pp. 217-220 ◽  
Author(s):  
Rex Koontz
Keyword(s):  
Visual Culture ◽  
Performance Studies ◽  
Art History ◽  
World Systems ◽  
Postclassic Period ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Current Trends ◽  
Recent Trends ◽  
Visual Cultural Studies

AbstractThis essay surveys recent trends in studies of Mesoamerican visual culture. Visual culture is defined here as more than an inclusive art history. I outline a tradition of approaches and methods in visual culture studies, arguing that this tradition pays particular attention to the reception and use of objects, as well as to their place in ancient economies. Several current trends in Mesoamerican studies, especially Postclassic period world-systems approaches and Classic period Maya courtly studies, have been particularly fecund strategies for visual culture studies. Other major trends in the field include studies of the symbolism of architecture and urban planning as well as performance studies. The insistence on economic contexts, the desire to capture indigenous visualities, and the need to situate the visual experience in larger cultural phenomena all bode well for future interdisciplinary work in visual cultural studies.

Visualizing Literacy: Images, Media, and Method

2017 ◽  
Vol 25 (3) ◽  
pp. 293-319 ◽  
Author(s):  
Ryan P. Bonfiglio
Keyword(s):  
Visual Culture ◽  
Visual Literacy ◽  
Biblical Interpretation ◽  
Ancient World ◽  
Culture Studies ◽  
Ample Evidence ◽  
Near Eastern ◽  
Visual Culture Studies ◽  
Design And Implementation ◽  
Media Research

While biblical scholars have long been interested in questions about textual literacy in the ancient world, relatively little attention has been given to the concept of visual literacy – that is, the extent to which images were produced and read as a type of language. The following article introduces this concept as it has been developed in recent work in visual culture studies and then offers a series of probes that attempt to assess the prominence of visual literacy in the ancient Near Eastern world. Though it is not possible to arrive at a precise rate of visual literacy, there is ample evidence to suggest that those who produced/commissioned art were highly concerned about questions regarding the readability of their materials and often privileged artistic motifs over epigraphic content in the design and implementation of certain mixed-media artifacts. These lines of evidence suggest that images functioned as a prominent vehicle of communication in the ancient world alongside, and sometimes in place of, text-based media. Research on visual literacy not only sheds new light on the ancient media contexts of the biblical world but also offers a more explicit rationale for how and why ancient images should be used in biblical interpretation today.


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