Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms. Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.
]) Collected papers . Cambridge, MA : Harvard University Press . Sellers , W. ( 2007 ) In the space of reasons , K. Sharp and R. Brandom , eds. Cambridge, MA : Harvard University Press . Shusterman , R. ( 2000 ) Pragmatist aesthetics: Living beauty, rethinking art , 2nd edn. Oxford : Rowman & Littlefield . Stuhr , J. ( 1997 ) Genealogical pragmatism . Albany, NY : SUNY Press . Sullivan , S. ( 2001 ) Living across and through skins: Transactional bodies, pragmatism and feminism . Bloomington, IN : Indiana University Press . Thomas , W
Aesthetics and Art Criticism, 33.4 (1975), 383–91, and William Seitz’s Abstract Expressionist Painting in America (Cambridge, MA: Harvard University Press, 1983). 6 Martin Jay, ‘Somaesthetics and Democracy: John Dewey and Contemporary Body Art’, in Jay, Refractions of Violence (New York: Routledge, 2003), pp. 163–76; Richard Shusterman coined the term ‘somaesthetics’ in Pragmatist Aesthetics (Lanham, MD: Rowman and Littlefield, 2000). 7 Andrew Epstein, Beautiful Enemies: Friendship and Postwar American Poetry (Oxford: Oxford University Press, 2006), p. 18. 8