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Art criticism

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Positioning himself in the slippery divide between two highly charged critical approaches--deconstruction and cultural studies--J. Hillis Miller explains why the split occurred and offers, for the first time, an eloquent analysis of the goals and methods of cultural studies. Miller's Illustration is an intellectual adventure that transgresses the boundaries of critical theory to reveal the ideological forces at work. The result, art critic Norman Bryson concludes, "is an extraordinary performance." In a positive, constructive way, Miller describes cultural studies as, primarily, a means of contextualizing works of art. Relating the assumptions behind this approach to recent social, political, and technological changes, he shows how cultural studies is itself subject to its context and thus perhaps misguided insofar as it portrays art objects as "mere illustration." In particular, Miller considers new forms of electronic research in the humanities which, with their vast, homogenizing effect on data, can compel a critic to reconfigure information--in fact, to create the context that he or she means simply to identify. To illustrate this phenomenon, Miller investigates one topic of importance for cultural studies: the relation of verbal and visual forms in multimedia works. Drawing examples from Twain, Gorey, Mallarme, James, Ruskin, Heidegger, Dickens, and Turner, he shows how neither word nor image takes priority in such collaborations; nor is either a mere representation of a pre-existing reality. The transformations wrought by cultural artifacts on their contexts, Miller contends, must be identified through detailed and vigilant "rhetorical" readings if the force of a work of art is to be passed on into the current cultural situation. And for the new form these readings take, the reader-critic must in turn assume responsibility.

Arts --- Deconstruction --- Art criticism --- History --- Art criticism --- Culture --- Deconstruction

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Aesthetics of art --- art criticism --- kunstkritiek --- anno 1900-1999 --- Netherlands

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Art museum visitors --- Art museums --- Psychology. --- Psychological aspects. --- art criticism --- kunstkritiek --- musea --- museums [buildings] --- Museology --- Art

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Eunice Lipton was a fledging art historian when she first became intrigued by Victorine Meurent, the nineteenth-century model who appeared in Edouard Manet's most famous paintings, only to vanish from history in a haze of degrading hearsay. But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death-or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off layers of lies to reveal startling truths about Victorine Meurent-and about Lipton herself.

Feminist art criticism --- Women art historians --- Artists' models --- Art criticism --- Feminist criticism --- Art historians --- Women historians --- Models, Artists' --- Models (Persons) --- Biography. --- Lipton, Eunice. --- Manet, Edouard, --- Meurent, Victorine. --- Manet, Edouard --- Manė, Eduard --- Manet, Éduard --- מאנה, אדוארד, --- Relations with women.