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In What Photography Is, James Elkins examines the strange and alluring power of photography in the same provocative and evocative manner as he explored oil painting in his best-selling What Painting Is. In the course of an extended imaginary dialogue with Roland Barthes's Camera Lucida, Elkins argues that photography is also about meaninglessness--its apparently endless capacity to show us things that we do not want or need to see--and also about pain, because extremely powerful images can sear permanently into our consciousness. Extensively illustrated with a surprising range of images, the book demonstrates that what makes photography uniquely powerful is its ability to express the difficulty--physical, psychological, emotional, and aesthetic--of the act of seeing.

Barthes, Roland. --- Photography, Artistic. --- Photography --- Philosophy. --- 77.01 --- Fotografie ; theorie --- fotografie --- fotografietheorie --- eenentwintigste eeuw --- Barthes Roland --- Fotografie--Semiotiek van de fotografie. Theorie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Photography, Artistic --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Philosophy --- Aesthetics --- Photographie artistique --- Photographie --- Philosophie

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Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world.

Aesthetics. --- Perspective. --- Space perception. --- Espace--Perception --- Ruimteperceptie --- Ruimtewaarneming --- Spatial perception --- Geometry --- Aesthetics --- Space perception --- Perspective --- Esthétique --- Perception spatiale --- CDL --- 742 --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Perception --- Spatial behavior --- Figure-ground perception --- Geographical perception --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Projection --- Proportion (Art) --- Shades and shadows --- Psychology --- Radio broadcasting Aesthetics

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- Visual literacy or literary visualcy? ##- Four fundamental concepts of image science / W.J.T. Mitchell ##- The remaining 10 percent : the role of sensory knowledge in the age of the self-organizing brain / Barbara Maria Stafford ##- Nineteenth-century visual incapacities / Jonathan Crary ##- From visual literacy to image competence / Jon Simons ##- The visual complex : mapping some interdisciplinary dimensions of visual literacy / Peter Dallow ##- Visual literacy in North American secondary schools : arts-centered learning, the classroom, and visual literacy / Susan Shifrin ##- Philosophical bases for visual multiculturalism at the college level / William Washabaugh ##- Bridging the gap between clinical and patient-provided images / Henrik Enquist ##- The image as cultural technology / Matthias Bruhn and Vera Dunkel ##- Visual literacy in action : "law in the age of images" / Richard K. Sherwin.

#KVHA:Media --- #KVHA:Journalistiek --- #KVHA:Beeldtaal --- Visuele literatuur --- Beeld en woord ; beeld en tekst --- 82:3 --- 7.04 --- 82.085.43 --- Visuele communicatie --- Iconografie --- Visuele waarneming --- 82.085.43 Literaire receptie --- Literaire receptie --- 82:3 Literatuur en maatschappijwetenschappen --- Literatuur en maatschappijwetenschappen --- Visual communication --- Visual literacy --- Visual perception --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Literacy, Visual --- Graphic communication --- Imaginal communication --- Pictorial communication --- Communication --- Psychological aspects --- Literary semiotics --- Mass communications --- Visual Perception --- Semiotics --- Higher education

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Stories of Art is James Elkins's intimate history of art. Concise and original, this engaging book is an antidote to the behemoth art history textbooks from which we were all taught. As he demonstrates so persuasively, there can never be one story of art. Cultures have their own stories - about themselves, about other cultures - and to hear them all is one way to hear the multiple stories that art tells. But each of us also has our own story of art, a kind of private art history made up of the pieces we have seen, and loved or hated, the effects they had on us, and the connections

Art --- Art criticism --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Criticism --- Historiography --- Methodology. --- Forecasting. --- Analysis, interpretation, appreciation --- Historiography&delete& --- Methodology --- Forecasting --- Art, Primitive

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The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.The most international book on contemporary art history, drawing on research in 76 countriesThe most comprehensive review of recent theories of world art, including decolonial theory, post-national, theories of the local, provincial, and regional.

Art --- art history --- writing [processes] --- art theory --- narratives [document genres] --- cultural pluralism --- Eurocentrism. --- Historiography. --- E-books --- kunst --- kunstkritiek --- kunstgeschiedenis --- kunstonderwijs --- kunst en politiek --- globalisering --- 7.01 --- kunsttheorie --- Aesthetics of art --- art criticism --- globalism --- anno 1800-1999 --- anno 2000-2099