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The Construction of Gothic Cathedrals: A Study of Medieval Vault Erection
by John FitchenJohn Fitchen systematically treats the process of erecting the great edifices of the Gothic era. He explains the building equipment and falsework needed, the actual operations undertaken, and the sequence of these operations as specifically as they can be deduced today. Since there are no contemporary accounts of the techniques used by medieval builders, Fitchen's study brilliantly pieces together clues from manuscript illuminations, from pictorial representations, and from the fabrics of the building themselves. "Anyone who has caught the fascination of Gothic Churches (and once caught, has almost necessarily got it in the blood) will find this book enthralling. . . . Clearly written and beautifully illustrated." —A. D. R. Caroe, Annual Review, Central Council for the Care of Churches "Fitchen's study is a tribute to the extraordinary creative and engineering skills of successive generations of mediaeval builders. . . . This study enables us to appreciate more fully the technical expertise and improvements which enabled the creative spirit of the day to find such splendid embodiment." —James Lingwood, Oxford Art Journal "Fitchen, in what can only be defined as an architectural detective story, fully explores the problems confronting the medieval vault erectors and uncovers their solution. . . . This is a book that no serious student of architecture will want to miss." —Progressive Architecture
Troubling Vision: Performance, Visuality, and Blackness
by Nicole R. FleetwoodTroubling Vision addresses American culture’s fixation on black visibility, exploring how blackness is persistently seen as a problem in public culture and even in black scholarship that challenges racist discourse. Through trenchant analysis, Nicole R. Fleetwood reorients the problem of black visibility by turning attention to what it means to see blackness and to the performative codes that reinforce, resignify, and disrupt its meaning. Working across visual theory and performance studies, Fleetwood asks, How is the black body visualized as both familiar and disruptive? How might we investigate the black body as a troubling presence to the scopic regimes that define it as such? How is value assessed based on visible blackness? Fleetwood documents multiple forms of engagement with the visual, even as she meticulously underscores how the terms of engagement change in various performative contexts. Examining a range of practices from the documentary photography of Charles “Teenie” Harris to the “excess flesh” performances of black female artists and pop stars to the media art of Fatimah Tuggar to the iconicity of Michael Jackson, Fleetwood reveals and reconfigures the mechanics, codes, and metaphors of blackness in visual culture. “Troubling Vision is a path-breaking book that examines the problem of seeing blackness—the simultaneous hyper-visibility and invisibility of African Americans—in US visual culture in the last half century. Weaving together critical modes and methodologies from performance studies, art history, critical race studies, visual culture analysis, and gender theory, Fleetwood expands Du Bois’s idea of double vision into a broad questioning of whether ‘representation itself will resolve the problem of the black body in the field of vision.’ With skilled attention to historical contexts, documentary practices, and media forms, she takes up the works of a broad variety of cultural producers, from photographers and playwrights to musicians and visual artists and examines black spectatorship as well as black spectacle. In chapters on the trope of ‘non-iconicity’ in the photographs of Charles (Teenie) Harris, the ‘visible seams’ in the digital images of the artist Fatimah Tuggar, and a coda on the un-dead Michael Jackson, Fleetwood's close analyses soar. Troubling Vision is a beautifully written, original, and important addition to the field of American Studies.”—Announcement of the American Studies Association for the 2012 Lora Romero First Book Publication Prize
Troubling Vision: Performance, Visuality, and Blackness
by Nicole R. FleetwoodTroubling Vision addresses American culture’s fixation on black visibility, exploring how blackness is persistently seen as a problem in public culture and even in black scholarship that challenges racist discourse. Through trenchant analysis, Nicole R. Fleetwood reorients the problem of black visibility by turning attention to what it means to see blackness and to the performative codes that reinforce, resignify, and disrupt its meaning. Working across visual theory and performance studies, Fleetwood asks, How is the black body visualized as both familiar and disruptive? How might we investigate the black body as a troubling presence to the scopic regimes that define it as such? How is value assessed based on visible blackness? Fleetwood documents multiple forms of engagement with the visual, even as she meticulously underscores how the terms of engagement change in various performative contexts. Examining a range of practices from the documentary photography of Charles “Teenie” Harris to the “excess flesh” performances of black female artists and pop stars to the media art of Fatimah Tuggar to the iconicity of Michael Jackson, Fleetwood reveals and reconfigures the mechanics, codes, and metaphors of blackness in visual culture. “Troubling Vision is a path-breaking book that examines the problem of seeing blackness—the simultaneous hyper-visibility and invisibility of African Americans—in US visual culture in the last half century. Weaving together critical modes and methodologies from performance studies, art history, critical race studies, visual culture analysis, and gender theory, Fleetwood expands Du Bois’s idea of double vision into a broad questioning of whether ‘representation itself will resolve the problem of the black body in the field of vision.’ With skilled attention to historical contexts, documentary practices, and media forms, she takes up the works of a broad variety of cultural producers, from photographers and playwrights to musicians and visual artists and examines black spectatorship as well as black spectacle. In chapters on the trope of ‘non-iconicity’ in the photographs of Charles (Teenie) Harris, the ‘visible seams’ in the digital images of the artist Fatimah Tuggar, and a coda on the un-dead Michael Jackson, Fleetwood's close analyses soar. Troubling Vision is a beautifully written, original, and important addition to the field of American Studies.”—Announcement of the American Studies Association for the 2012 Lora Romero First Book Publication Prize
Troubling Vision: Performance, Visuality, and Blackness
by Nicole R. FleetwoodTroubling Vision addresses American culture’s fixation on black visibility, exploring how blackness is persistently seen as a problem in public culture and even in black scholarship that challenges racist discourse. Through trenchant analysis, Nicole R. Fleetwood reorients the problem of black visibility by turning attention to what it means to see blackness and to the performative codes that reinforce, resignify, and disrupt its meaning. Working across visual theory and performance studies, Fleetwood asks, How is the black body visualized as both familiar and disruptive? How might we investigate the black body as a troubling presence to the scopic regimes that define it as such? How is value assessed based on visible blackness? Fleetwood documents multiple forms of engagement with the visual, even as she meticulously underscores how the terms of engagement change in various performative contexts. Examining a range of practices from the documentary photography of Charles “Teenie” Harris to the “excess flesh” performances of black female artists and pop stars to the media art of Fatimah Tuggar to the iconicity of Michael Jackson, Fleetwood reveals and reconfigures the mechanics, codes, and metaphors of blackness in visual culture. “Troubling Vision is a path-breaking book that examines the problem of seeing blackness—the simultaneous hyper-visibility and invisibility of African Americans—in US visual culture in the last half century. Weaving together critical modes and methodologies from performance studies, art history, critical race studies, visual culture analysis, and gender theory, Fleetwood expands Du Bois’s idea of double vision into a broad questioning of whether ‘representation itself will resolve the problem of the black body in the field of vision.’ With skilled attention to historical contexts, documentary practices, and media forms, she takes up the works of a broad variety of cultural producers, from photographers and playwrights to musicians and visual artists and examines black spectatorship as well as black spectacle. In chapters on the trope of ‘non-iconicity’ in the photographs of Charles (Teenie) Harris, the ‘visible seams’ in the digital images of the artist Fatimah Tuggar, and a coda on the un-dead Michael Jackson, Fleetwood's close analyses soar. Troubling Vision is a beautifully written, original, and important addition to the field of American Studies.”—Announcement of the American Studies Association for the 2012 Lora Romero First Book Publication Prize
That's the Way It Is: A History of Television News in America
by Charles L. Ponce de LeonWhen critics decry the current state of our public discourse, one reliably easy target is television news. It’s too dumbed-down, they say; it’s no longer news but entertainment, celebrity-obsessed and vapid. The critics may be right. But, as Charles L. Ponce de Leon explains in That’s the Way It Is, TV news has always walked a fine line between hard news and fluff. The familiar story of decline fails to acknowledge real changes in the media and Americans’ news-consuming habits, while also harking back to a golden age that, on closer examination, is revealed to be not so golden after all. Ponce de Leon traces the entire history of televised news, from the household names of the late 1940s and early ’50s, like Eric Sevareid, Edward R. Murrow, and Walter Cronkite, through the rise of cable, the political power of Fox News, and the satirical punch of Colbert and Stewart. He shows us an industry forever in transition, where newsmagazines and celebrity profiles vie with political news and serious investigations. The need for ratings success—and the lighter, human interest stories that can help bring it—Ponce de Leon makes clear, has always sat uneasily alongside a real desire to report hard news. Highlighting the contradictions and paradoxes at the heart of TV news, and telling a story rich in familiar figures and fascinating anecdotes, That’s the Way It Is will be the definitive account of how television has showed us our history as it happens.
That's the Way It Is: A History of Television News in America
by Charles L. Ponce de LeonWhen critics decry the current state of our public discourse, one reliably easy target is television news. It’s too dumbed-down, they say; it’s no longer news but entertainment, celebrity-obsessed and vapid. The critics may be right. But, as Charles L. Ponce de Leon explains in That’s the Way It Is, TV news has always walked a fine line between hard news and fluff. The familiar story of decline fails to acknowledge real changes in the media and Americans’ news-consuming habits, while also harking back to a golden age that, on closer examination, is revealed to be not so golden after all. Ponce de Leon traces the entire history of televised news, from the household names of the late 1940s and early ’50s, like Eric Sevareid, Edward R. Murrow, and Walter Cronkite, through the rise of cable, the political power of Fox News, and the satirical punch of Colbert and Stewart. He shows us an industry forever in transition, where newsmagazines and celebrity profiles vie with political news and serious investigations. The need for ratings success—and the lighter, human interest stories that can help bring it—Ponce de Leon makes clear, has always sat uneasily alongside a real desire to report hard news. Highlighting the contradictions and paradoxes at the heart of TV news, and telling a story rich in familiar figures and fascinating anecdotes, That’s the Way It Is will be the definitive account of how television has showed us our history as it happens.
That's the Way It Is: A History of Television News in America
by Charles L. Ponce de LeonWhen critics decry the current state of our public discourse, one reliably easy target is television news. It’s too dumbed-down, they say; it’s no longer news but entertainment, celebrity-obsessed and vapid. The critics may be right. But, as Charles L. Ponce de Leon explains in That’s the Way It Is, TV news has always walked a fine line between hard news and fluff. The familiar story of decline fails to acknowledge real changes in the media and Americans’ news-consuming habits, while also harking back to a golden age that, on closer examination, is revealed to be not so golden after all. Ponce de Leon traces the entire history of televised news, from the household names of the late 1940s and early ’50s, like Eric Sevareid, Edward R. Murrow, and Walter Cronkite, through the rise of cable, the political power of Fox News, and the satirical punch of Colbert and Stewart. He shows us an industry forever in transition, where newsmagazines and celebrity profiles vie with political news and serious investigations. The need for ratings success—and the lighter, human interest stories that can help bring it—Ponce de Leon makes clear, has always sat uneasily alongside a real desire to report hard news. Highlighting the contradictions and paradoxes at the heart of TV news, and telling a story rich in familiar figures and fascinating anecdotes, That’s the Way It Is will be the definitive account of how television has showed us our history as it happens.
That's the Way It Is: A History of Television News in America
by Charles L. Ponce de LeonWhen critics decry the current state of our public discourse, one reliably easy target is television news. It’s too dumbed-down, they say; it’s no longer news but entertainment, celebrity-obsessed and vapid. The critics may be right. But, as Charles L. Ponce de Leon explains in That’s the Way It Is, TV news has always walked a fine line between hard news and fluff. The familiar story of decline fails to acknowledge real changes in the media and Americans’ news-consuming habits, while also harking back to a golden age that, on closer examination, is revealed to be not so golden after all. Ponce de Leon traces the entire history of televised news, from the household names of the late 1940s and early ’50s, like Eric Sevareid, Edward R. Murrow, and Walter Cronkite, through the rise of cable, the political power of Fox News, and the satirical punch of Colbert and Stewart. He shows us an industry forever in transition, where newsmagazines and celebrity profiles vie with political news and serious investigations. The need for ratings success—and the lighter, human interest stories that can help bring it—Ponce de Leon makes clear, has always sat uneasily alongside a real desire to report hard news. Highlighting the contradictions and paradoxes at the heart of TV news, and telling a story rich in familiar figures and fascinating anecdotes, That’s the Way It Is will be the definitive account of how television has showed us our history as it happens.
That's the Way It Is: A History of Television News in America
by Charles L. Ponce de LeonWhen critics decry the current state of our public discourse, one reliably easy target is television news. It’s too dumbed-down, they say; it’s no longer news but entertainment, celebrity-obsessed and vapid. The critics may be right. But, as Charles L. Ponce de Leon explains in That’s the Way It Is, TV news has always walked a fine line between hard news and fluff. The familiar story of decline fails to acknowledge real changes in the media and Americans’ news-consuming habits, while also harking back to a golden age that, on closer examination, is revealed to be not so golden after all. Ponce de Leon traces the entire history of televised news, from the household names of the late 1940s and early ’50s, like Eric Sevareid, Edward R. Murrow, and Walter Cronkite, through the rise of cable, the political power of Fox News, and the satirical punch of Colbert and Stewart. He shows us an industry forever in transition, where newsmagazines and celebrity profiles vie with political news and serious investigations. The need for ratings success—and the lighter, human interest stories that can help bring it—Ponce de Leon makes clear, has always sat uneasily alongside a real desire to report hard news. Highlighting the contradictions and paradoxes at the heart of TV news, and telling a story rich in familiar figures and fascinating anecdotes, That’s the Way It Is will be the definitive account of how television has showed us our history as it happens.
That's the Way It Is: A History of Television News in America
by Charles L. Ponce de LeonWhen critics decry the current state of our public discourse, one reliably easy target is television news. It’s too dumbed-down, they say; it’s no longer news but entertainment, celebrity-obsessed and vapid. The critics may be right. But, as Charles L. Ponce de Leon explains in That’s the Way It Is, TV news has always walked a fine line between hard news and fluff. The familiar story of decline fails to acknowledge real changes in the media and Americans’ news-consuming habits, while also harking back to a golden age that, on closer examination, is revealed to be not so golden after all. Ponce de Leon traces the entire history of televised news, from the household names of the late 1940s and early ’50s, like Eric Sevareid, Edward R. Murrow, and Walter Cronkite, through the rise of cable, the political power of Fox News, and the satirical punch of Colbert and Stewart. He shows us an industry forever in transition, where newsmagazines and celebrity profiles vie with political news and serious investigations. The need for ratings success—and the lighter, human interest stories that can help bring it—Ponce de Leon makes clear, has always sat uneasily alongside a real desire to report hard news. Highlighting the contradictions and paradoxes at the heart of TV news, and telling a story rich in familiar figures and fascinating anecdotes, That’s the Way It Is will be the definitive account of how television has showed us our history as it happens.
Teaching Artist Handbook, Volume One: Tools, Techniques, and Ideas to Help Any Artist Teach
by Nick Jaffe Becca Barniskis Barbara Hackett CoxTeaching Artist Handbook is based on the premise that teaching artists have the unique ability to engage students as fellow artists. In their schools and communities, teaching artists put high quality art-making at the center of their practice and open doors to powerful learning across disciplines. This book is a collection of essays, stories, lists, examples, dialogues, and ideas, all offered with the aim of helping artists create and implement effective teaching based on their own expertise and strengths. The Handbook addresses three core questions: “What will I teach?” “How will I teach it?” and “How will I know if my teaching is working?” It also recognizes that teaching is a dynamic process that requires critical reflection and thoughtful adjustment in order to foster a supportive artistic environment. Instead of offering rigid formulas, this book is centered on practice—the actual doing and making of teaching artist work. Experience-based and full of heart, the Teaching Artist Handbook will encourage artists of every experience level to create an original and innovative practice that inspires students and the artist.
Teaching Artist Handbook, Volume One: Tools, Techniques, and Ideas to Help Any Artist Teach
by Nick Jaffe Becca Barniskis Barbara Hackett CoxTeaching Artist Handbook is based on the premise that teaching artists have the unique ability to engage students as fellow artists. In their schools and communities, teaching artists put high quality art-making at the center of their practice and open doors to powerful learning across disciplines. This book is a collection of essays, stories, lists, examples, dialogues, and ideas, all offered with the aim of helping artists create and implement effective teaching based on their own expertise and strengths. The Handbook addresses three core questions: “What will I teach?” “How will I teach it?” and “How will I know if my teaching is working?” It also recognizes that teaching is a dynamic process that requires critical reflection and thoughtful adjustment in order to foster a supportive artistic environment. Instead of offering rigid formulas, this book is centered on practice—the actual doing and making of teaching artist work. Experience-based and full of heart, the Teaching Artist Handbook will encourage artists of every experience level to create an original and innovative practice that inspires students and the artist.
Teaching Artist Handbook, Volume One: Tools, Techniques, and Ideas to Help Any Artist Teach
by Nick Jaffe Becca Barniskis Barbara Hackett CoxTeaching Artist Handbook is based on the premise that teaching artists have the unique ability to engage students as fellow artists. In their schools and communities, teaching artists put high quality art-making at the center of their practice and open doors to powerful learning across disciplines. This book is a collection of essays, stories, lists, examples, dialogues, and ideas, all offered with the aim of helping artists create and implement effective teaching based on their own expertise and strengths. The Handbook addresses three core questions: “What will I teach?” “How will I teach it?” and “How will I know if my teaching is working?” It also recognizes that teaching is a dynamic process that requires critical reflection and thoughtful adjustment in order to foster a supportive artistic environment. Instead of offering rigid formulas, this book is centered on practice—the actual doing and making of teaching artist work. Experience-based and full of heart, the Teaching Artist Handbook will encourage artists of every experience level to create an original and innovative practice that inspires students and the artist.
Teaching Artist Handbook, Volume One: Tools, Techniques, and Ideas to Help Any Artist Teach
by Nick Jaffe Becca Barniskis Barbara Hackett CoxTeaching Artist Handbook is based on the premise that teaching artists have the unique ability to engage students as fellow artists. In their schools and communities, teaching artists put high quality art-making at the center of their practice and open doors to powerful learning across disciplines. This book is a collection of essays, stories, lists, examples, dialogues, and ideas, all offered with the aim of helping artists create and implement effective teaching based on their own expertise and strengths. The Handbook addresses three core questions: “What will I teach?” “How will I teach it?” and “How will I know if my teaching is working?” It also recognizes that teaching is a dynamic process that requires critical reflection and thoughtful adjustment in order to foster a supportive artistic environment. Instead of offering rigid formulas, this book is centered on practice—the actual doing and making of teaching artist work. Experience-based and full of heart, the Teaching Artist Handbook will encourage artists of every experience level to create an original and innovative practice that inspires students and the artist.
Soldier Field: A Stadium and Its City (Chicago Visions and Revisions)
by Liam T. FordSports fans nationwide know Soldier Field as the home of the Chicago Bears. For decades its signature columns provided an iconic backdrop for gridiron matches. But few realize that the stadium has been much more than that. Soldier Field: A Stadium and Its City explores how this amphitheater evolved from a public war memorial into a majestic arena that helped define Chicago. Chicago Tribune staff writer Liam Ford led the reporting on the stadium’s controversial 2003 renovation—and simultaneously found himself unearthing a dramatic history. As he tells it, the tale of Soldier Field truly is the story of Chicago, filled with political intrigue and civic pride. Designed by Holabird and Roche, Soldier Field arose through a serendipitous combination of local tax dollars, City Beautiful boosterism, and the machinations of Mayor “Big Bill” Thompson. The result was a stadium that stood at the center of Chicago’s political, cultural, and sporting life for nearly sixty years before the arrival of Walter Payton and William “The Refrigerator” Perry. Ford describes it all in the voice of a seasoned reporter: the high school football games, track and field contests, rodeos, and even NASCAR races. Photographs, including many from the Chicago Park District’s own collections, capture these remarkable scenes: the swelling crowds at ethnic festivals, Catholic masses, and political rallies. Few remember that Soldier Field hosted Billy Graham and Martin Luther King Jr., Judy Garland and Johnny Cash—as well as Grateful Dead’s final show. Soldier Field captures the dramatic history of Chicago’s stadium on the lake and will captivate sports fans and historians alike.
Soldier Field: A Stadium and Its City (Chicago Visions and Revisions)
by Liam T. FordSports fans nationwide know Soldier Field as the home of the Chicago Bears. For decades its signature columns provided an iconic backdrop for gridiron matches. But few realize that the stadium has been much more than that. Soldier Field: A Stadium and Its City explores how this amphitheater evolved from a public war memorial into a majestic arena that helped define Chicago. Chicago Tribune staff writer Liam Ford led the reporting on the stadium’s controversial 2003 renovation—and simultaneously found himself unearthing a dramatic history. As he tells it, the tale of Soldier Field truly is the story of Chicago, filled with political intrigue and civic pride. Designed by Holabird and Roche, Soldier Field arose through a serendipitous combination of local tax dollars, City Beautiful boosterism, and the machinations of Mayor “Big Bill” Thompson. The result was a stadium that stood at the center of Chicago’s political, cultural, and sporting life for nearly sixty years before the arrival of Walter Payton and William “The Refrigerator” Perry. Ford describes it all in the voice of a seasoned reporter: the high school football games, track and field contests, rodeos, and even NASCAR races. Photographs, including many from the Chicago Park District’s own collections, capture these remarkable scenes: the swelling crowds at ethnic festivals, Catholic masses, and political rallies. Few remember that Soldier Field hosted Billy Graham and Martin Luther King Jr., Judy Garland and Johnny Cash—as well as Grateful Dead’s final show. Soldier Field captures the dramatic history of Chicago’s stadium on the lake and will captivate sports fans and historians alike.
Enduring Truths: Sojourner's Shadows and Substance
by Darcy Grimaldo GrigsbyRunaway slave Sojourner Truth gained fame in the nineteenth century as an abolitionist, feminist, and orator and earned a living partly by selling photographic carte de visite portraits of herself at lectures and by mail. Cartes de visite, similar in format to calling cards, were relatively inexpensive collectibles that quickly became a new mode of mass communication. Despite being illiterate, Truth copyrighted her photographs in her name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” Featuring the largest collection of Truth’s photographs ever published, Enduring Truths is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. Darcy Grimaldo Grigsby establishes a range of important contexts for Truth’s portraits, including the strategic role of photography and copyright for an illiterate former slave; the shared politics of Truth’s cartes de visite and federal banknotes, which were both created to fund the Union cause; and the ways that photochemical limitations complicated the portrayal of different skin tones. Insightful and powerful, Enduring Truths shows how Truth made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.
Enduring Truths: Sojourner's Shadows and Substance
by Darcy Grimaldo GrigsbyRunaway slave Sojourner Truth gained fame in the nineteenth century as an abolitionist, feminist, and orator and earned a living partly by selling photographic carte de visite portraits of herself at lectures and by mail. Cartes de visite, similar in format to calling cards, were relatively inexpensive collectibles that quickly became a new mode of mass communication. Despite being illiterate, Truth copyrighted her photographs in her name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” Featuring the largest collection of Truth’s photographs ever published, Enduring Truths is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. Darcy Grimaldo Grigsby establishes a range of important contexts for Truth’s portraits, including the strategic role of photography and copyright for an illiterate former slave; the shared politics of Truth’s cartes de visite and federal banknotes, which were both created to fund the Union cause; and the ways that photochemical limitations complicated the portrayal of different skin tones. Insightful and powerful, Enduring Truths shows how Truth made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.
Enduring Truths: Sojourner's Shadows and Substance
by Darcy Grimaldo GrigsbyRunaway slave Sojourner Truth gained fame in the nineteenth century as an abolitionist, feminist, and orator and earned a living partly by selling photographic carte de visite portraits of herself at lectures and by mail. Cartes de visite, similar in format to calling cards, were relatively inexpensive collectibles that quickly became a new mode of mass communication. Despite being illiterate, Truth copyrighted her photographs in her name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” Featuring the largest collection of Truth’s photographs ever published, Enduring Truths is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. Darcy Grimaldo Grigsby establishes a range of important contexts for Truth’s portraits, including the strategic role of photography and copyright for an illiterate former slave; the shared politics of Truth’s cartes de visite and federal banknotes, which were both created to fund the Union cause; and the ways that photochemical limitations complicated the portrayal of different skin tones. Insightful and powerful, Enduring Truths shows how Truth made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.
Enduring Truths: Sojourner's Shadows and Substance
by Darcy Grimaldo GrigsbyRunaway slave Sojourner Truth gained fame in the nineteenth century as an abolitionist, feminist, and orator and earned a living partly by selling photographic carte de visite portraits of herself at lectures and by mail. Cartes de visite, similar in format to calling cards, were relatively inexpensive collectibles that quickly became a new mode of mass communication. Despite being illiterate, Truth copyrighted her photographs in her name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” Featuring the largest collection of Truth’s photographs ever published, Enduring Truths is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. Darcy Grimaldo Grigsby establishes a range of important contexts for Truth’s portraits, including the strategic role of photography and copyright for an illiterate former slave; the shared politics of Truth’s cartes de visite and federal banknotes, which were both created to fund the Union cause; and the ways that photochemical limitations complicated the portrayal of different skin tones. Insightful and powerful, Enduring Truths shows how Truth made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.
The Technical Image: A History of Styles in Scientific Imagery
In science and technology, the images used to depict ideas, data, and reactions can be as striking and explosive as the concepts and processes they embody—both works of art and generative forces in their own right. Drawing on a close dialogue between the histories of art, science, and technology, The Technical Image explores these images not as mere illustrations or examples, but as productive agents and distinctive, multilayered elements of the process of generating knowledge. Using beautifully reproduced visuals, this book not only reveals how scientific images play a constructive role in shaping the findings and insights they illustrate, but also—however mechanical or detached from individual researchers’ choices their appearances may be—how they come to embody the styles of a period, a mindset, a research collective, or a device. Opening with a set of key questions about artistic representation in science, technology, and medicine, The Technical Image then investigates historical case studies focusing on specific images, such as James Watson’s models of genes, drawings of Darwin’s finches, and images of early modern musical automata. These case studies in turn are used to illustrate broad themes ranging from “Digital Images” to “Objectivity and Evidence” and to define and elaborate upon fundamental terms in the field. Taken as a whole, this collection will provide analytical tools for the interpretation and application of scientific and technological imagery.
The Technical Image: A History of Styles in Scientific Imagery
by Horst Bredekamp Vera Dünkel Birgit SchneiderIn science and technology, the images used to depict ideas, data, and reactions can be as striking and explosive as the concepts and processes they embody—both works of art and generative forces in their own right. Drawing on a close dialogue between the histories of art, science, and technology, The Technical Image explores these images not as mere illustrations or examples, but as productive agents and distinctive, multilayered elements of the process of generating knowledge. Using beautifully reproduced visuals, this book not only reveals how scientific images play a constructive role in shaping the findings and insights they illustrate, but also—however mechanical or detached from individual researchers’ choices their appearances may be—how they come to embody the styles of a period, a mindset, a research collective, or a device. Opening with a set of key questions about artistic representation in science, technology, and medicine, The Technical Image then investigates historical case studies focusing on specific images, such as James Watson’s models of genes, drawings of Darwin’s finches, and images of early modern musical automata. These case studies in turn are used to illustrate broad themes ranging from “Digital Images” to “Objectivity and Evidence” and to define and elaborate upon fundamental terms in the field. Taken as a whole, this collection will provide analytical tools for the interpretation and application of scientific and technological imagery.
The Power of Images: Studies in the History and Theory of Response
by David Freedberg"This learned and heavy volume should be placed on the shelves of every art historical library."—E. H. Gombrich, New York Review of Books "This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin "Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly "Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement
Hélio Oiticica: Folding the Frame
by Irene V. SmallHélio Oiticica (1937–80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists from Cildo Meireles and Ricardo Basbaum to Gabriel Orozco, Dominique Gonzalez-Foerster, and Olafur Eliasson. This book examines Oiticica’s impressive works against the backdrop of Brazil’s dramatic postwar push for modernization. From Oiticica’s late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica’s practice recast—in a sense “folded”—Brazil’s utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica’s participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.
Hélio Oiticica: Folding the Frame
by Irene V. SmallHélio Oiticica (1937–80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists from Cildo Meireles and Ricardo Basbaum to Gabriel Orozco, Dominique Gonzalez-Foerster, and Olafur Eliasson. This book examines Oiticica’s impressive works against the backdrop of Brazil’s dramatic postwar push for modernization. From Oiticica’s late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica’s practice recast—in a sense “folded”—Brazil’s utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica’s participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.