Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
This book presents new research on the histories and legacies of the German
Expressionist group, Der Blaue Reiter, the founding force behind modernist
abstraction. For the first time Der Blaue Reiter is subjected to a variety of
novel inter-disciplinary perspectives, ranging from a philosophical enquiry into
its language and visual perception, to analyses of its gender dynamics, its
reception at different historical junctures throughout the twentieth century,
and its legacies for post-colonial aesthetic practices. The volume offers a new
perspective on familiar aspects of Expressionism and abstraction, taking
seriously the inheritance of modernism for the twenty-first century in ways that
will help to recalibrate the field of Expressionist studies for future
scholarship. Der Blaue Reiter still matters, the contributors argue, because the
legacies of abstraction are still being debated by artists, writers,
philosophers and cultural theorists today.
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
Anthropological Association, which took place in Chicago in November 2013, as
marking the ‘ontological turn’ in anthropology and the renewed interest in ‘being’
(see El Or, Sandals, pp. 120, 155).
The study of the creation and production of objects sees design as integral to social
processes, since the creation of an object partakes of the experience of social
belonging. Ingold, for instance, explains that the production of objects is based on
skill, which is a social capability that involves learning from and imitating others.
See T. Ingold, Making: Anthropology, Archaeology
early 1840s. Plate 14 illustrates the
thinness of the glass Bell was using at this early stage: the exterior grid
to the window can be clearly seen through the green background to the
figure. The Rattery commission is a fine example of the emergence of
archaeological reference, the continued preference for painterly figures and
glass-painting techniques and material inherited from the eighteenth-century
tradition. The result
contexts in Western capitalist nations; a transition that has been well
documented in sociology and social histories of technology.2 The introduction of computerised and automated technologies profoundly transformed the labour conditions and industrial politics in factory and office
workplaces. In some cases, automation and computerisation made tasks
less dangerous or physically taxing, but in many others, new technologies made employees’ hard-won trade skills redundant.3 Computerisation
often reduced the number of employees required and it often degraded
expressions act as
components in a historically situated system of distribution and circulation
and, in consequence, also with intermedial relations. My emphasis on processes and systems, on continuities and ruptures and alternative histories
is inspired by recent developments within media studies, such as media
archaeology and cultural historical media studies.27 Such systems of distribution and circulation could be political, economical, technical, social or legal
and the aim of this study is to analyse the relations between different kinds
have at best been implicit or subterranean in the main dialogues of twentieth-century art history. Although some of their manifestations seem archaic, discredited and desperately in need of revision, by the same token, as with any approach’s need for revitalisation, it is also true that older anarchist histories (biological, political and cultural) are being revisited, with newer voices demonstrating their awareness of the radical insights of anarchist and social ecological thinking. A new generation of art historians, critics and practitioners find support for their