الهوامش
مقدمة
(1)
Michel-Rolph
Trouillot, Silencing the Past:
Power and the
Production
of History (Boston:
Beacon Press, 1995),
xxiii.
(2)
Umbro Apollonio, ed.,
Documents of
20th Century Art: Futurist
Manifestos, translated by
Robert Brain, R. W. Flint, J. C. Higgitt,
and Caroline Tisdall (New York: Viking
Press, 1973),
19–24.
(3)
Allan deSouza, How Art Can Be Thought:
A Handbook for Change
(Durham: Duke University Press, 2018),
13.
الفصل الأول: ما؟
(1)
For a helpful summary of
this work in the context of the
global movement of objects, see
Marita Sturken and Lisa Cartwright,
Practices
of Looking: An Introduction to
Visual Culture, 3rd
ed. (New York: Oxford University
Press, 2018),
390.
(2)
See
https://rhizome.org/download/#works,
accessed January 26,
2020.
(3)
See
https://additivism.org/about,
accessed August 11,
2019.
(4)
Morehshin Allahyari and
Daniel Rourke, “The 3D Additivist
Manifesto,” in The 3D Additivist
Cookbook, edited by
Morehshin Allahyari and Daniel Rourke
(Amsterdam: Institute of Network
Cultures, 2016),
https://www.scribd.com/document/333134915/The-3D-Additivist-Cookbook#,
accessed August 11,
2019.
(5)
Alexis Anais Avedisian
and Anna Khachiyan, “On Material
Speculation,”
essay for exhibition, Trinity Square
Video, Toronto, 2016; see
http://www.morehshin.com/wp-content/uploads/2016/03/morehshin_allahyari-material_speculation_isis_brochure-1.pdf,
accessed August 10,
2019.
(6)
For more on the myth and
its popularity and interpretations,
see Abbie Garrington, Excursus:
Pygmalion (Edinburgh:
Edinburgh University Press, 2013),
52–72; Kathy McConnell, Pain, Porn and
Complicity: Women Heroes from
Pygmalion to Twilight
(Hamilton, ON: Wolsak and Wynn,
2012); and Kelly Dennis, Art/Porn: A History
of Seeing and Touching
(Oxford: Berg,
2009).
(7)
For a fantastic study of
the visual imagery of graphics see
Johanna Drucker, Graphesis: Visual
Forms of Knowledge
Production (Cambridge,
MA: Harvard University Press, 2014).
Equally smart is Manuel Lima,
Visual
Complexity: Mapping Patterns of
Information (New York:
Princeton Architectural Press,
2011).
(8)
Lauren Cornell and Ed
Halter, eds., Mass Effect: Art and the
Internet in the Twenty-First
Century (Cambridge,
MA: MIT Press and New Museum, 2015),
105.
(9)
See Joanna Zylinska,
Nonhuman
Photography
(Cambridge, MA: MIT Press,
2017).
(10)
Saidiya Hartman,
Scenes of
Subjection: Terror, Slavery, and
Self-Making
in Nineteenth Century
America (New York:
Oxford University Press, 1997),
3.
(11)
See too Nicholas
Mirzoeff, The
Right to Look: A Counterhistory
of Visuality (Durham:
Duke University Press,
2011).
(12)
Scott Wallace, “Why
Revealing Uncontacted Tribes May Help
Save Them,” National Geographic,
November 21, 2018,
https://www.nationalgeographic.com/culture/2018/08/brazil-uncontacted-tribe-indigenous-people-amazon-video/,
accessed August 11,
2019.
(13)
https://www.youtube.com/watch?time_continue=87&v=kvfJBijV4XQ,
accessed July 28,
2019.
(14)
Wallace, “Why Revealing
Uncontacted Tribes May Help Save
Them.”
(15)
A. C. Thompson, “Inside
the Secret Border Patrol Facebook
Group Where Agents Joke about Migrant
Deaths and Post Sexist Memes,”
ProPublica, July 1,
2019,
https://www.propublica.org/article/secret-border-patrol-facebook-group-agents-joke-about-migrant-deaths-post-sexist-memes?fbclid=IwAR04J85h0KI9MCOyyXeyNtue3-4kW0F_g94adoqUAoIJgK36rQzcrj2zAlM,
accessed August 11,
2019.
(16)
Kevin Moxey gives one of
the most concise summaries of this
disciplinary and ideological history
of thinking about images in his
Visual
Time: The Image in
History (Durham: Duke
University Press, 2013),
53–75.
(17)
Donna Haraway, Simians, Cyborgs,
and Women: The Reinvention of
Natures (New York:
Routledge, 1991),
151.
(18)
For a few versions of
the visual culture origin story see
Margaret Dikovitskaya, Visual Culture: The
Study of the Visual after the
Cultural Turn
(Cambridge, MA: MIT Press, 2005),
6–45; Aruna D’Souza, “Introduction,”
in Art
History in the Wake of the Global
Turn, edited by Jill
H. Casid and Aruna D’Souza
(Williamstown, MA: Clark Art
Institute, 2014), x; Nicholas
Mirzoeff, How
to See the World
(London: Penguin, 2015), 12; Sturken
and Cartwright, Practices of
Looking,
7-8.
(19)
A succinct summary can
be found by Neil Mulholland,
“Definitions of Art and the Art
World,” in Exploring Visual Culture:
Definitions, Concepts,
Contexts, edited by
Matthew Rampley (Edinburgh: Edinburgh
University Press, 2005), 18–33. Also
helpful is Whitney Davis, A General Theory of
Visual Culture
(Princeton: Princeton University
Press, 2018).
(20)
To name just a few of
the transformative art historical
writers, think Heinrich Wölfflin,
Meyer Schapiro, Erwin Panofsky, and
Ernst
Gombrich.
(21)
Benjamin remains one of
the most important and influential
theorists of the visual. His essay
“The Work of Art in the Age of
Mechanical Reproduction,” written in
1936, is still required reading for
those interested in the visual. His
monumental and unfinished Arcades
Project (1927–1940)
similarly is rich with potential
about seeing, even in this
contemporary
moment.
(22)
Kevin Moxey, “Motivating
History,” Art
Bulletin 77, no. 3
(September 1995):
392.
(23)
Sturkin and Cartwright,
Practices
of Looking,
5.
(24)
In thinking about
perception as a historically
constructed category, see Jonathan
Crary, Suspensions of Perception:
Attention, Spectacle, and Modern
Culture (Cambridge,
MA: MIT Press, 1999). See too Anne
Friedberg, Window Shopping: Cinema and the
Postmodern (Berkeley:
University of California Press,
1994), and Martin Jay, Downcast Eyes: The
Denigration of Vision in
Twentieth-Century French
Thought (Berkeley:
University of California Press,
1993).
(25)
Mirzoeff, How to See the
World,
11.
(26)
Sturkin and Cartwright,
Practices
of Looking,
7.
(27)
For more on these
meanings and definitions, see
What Is
an Image?, edited by
James Elkins and Maja Naef
(University Park: Penn State
University Press,
2011).
(28)
Kandice Chuh, The Difference
Aesthetics Makes
(Durham: Duke University Press,
2019), 5.
(29)
The video was first
shown at a concert on June 16, 2018.
It is six minutes long and was
directed by Ricky Saiz:
https://vimeo.com/294517212,
accessed July 30,
2019.
(30)
See for example Rikki
Byrd, “Beyoncé and Jay-Z’s ‘Apeshit’
Video Shows Black Bodies in Art—and
in Control,” Racked, June 18,
2018,
https://www.racked.com/2018/6/18/17476770/beyonce-jay-z-apeshit-everything-is-love-art-meaning-louvre;
Taylor Hosking, “Beyoncé and Jay-Z’s
New Vision of Gender in ‘Apeshit’,”
Atlantic, June 22,
2018,
https://www.theatlantic.com/entertainment/archive/2018/06/beyonce-and-jay-zs-new-way-of-looking-at-gender/563360/;
Cady Lang, “Art History Experts
Explain the Meaning of the Art in
Beyoncé and Jay-Z’s ‘Apesh-t’ Video,”
Time, June 19, 2018,
https://time.com/5315275/art-references-meaning-beyonce-jay-z-apeshit-louvre-music-video/;
Doreen St. Félix, “The Power and
Paradox of Beyoncé and Jay-Z Taking
Over the Louvre,” New
Yorker, June 19, 2018,
https://www.newyorker.com/culture/culture-desk/what-it-means-when-beyonce-and-jay-z-take-over-the-louvre;
all accessed November 4,
2019.
(31)
See for example Amy E.
Herman, Visual Intelligence: Sharpen
Your Perception, Change Your
Life (New York:
Houghton Mifflin Harcourt, 2016);
James Elkins, How to Use Your Eyes
(New York: Routledge, 2000); and
Alain de Botton, Art as
Therapy (London:
Phaidon,
2013).
(32)
Nicholas Mirzoeff,
“Ghostwriting: Working Out Visual
Culture,” in Art History, Aesthetics, Visual
Studies, edited by
Michael Ann Holly and Keith Moxey
(Williamstown, MA: Clark Art
Institute, 2002),
190.
(33)
Hito Steyerl,
“In Defense of the Poor Image,”
e-flux
journal #10 (November
2009),
https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/,
accessed August 11,
2019.
الفصل الثاني: أين؟
(1)
Akiko Busch,
How to
Disappear: Notes on Invisibility
in a Time of
Transparency (New
York: Penguin Press, 2019),
3.
(2)
The notice is no longer
available on the Walker Art Center
webpage, although this is the dead
link:
https://walkerart.org/magazine/cultivating-the-garden-for-art-curatorial-and-civic-thinking-behind-a-reanimated-green-space?_ga=2.63650662.857527365.1564526816-44935773.1564526816.
The notice is mentioned in Olga
Viso’s first apology statement
released the following day, “Learning
in Public: An Open Letter on Sam
Durant’s Scaffold,” May 26, 2017,
https://walkerart.org/magazine/learning-in-public-an-open-letter-on-sam-durants-scaffold,
accessed July 30,
2019.
(3)
A description of
the work from Sam Durant’s
webpage; now removed. See
http://web.archive.org/web/20161017112101/http://www.samdurant.net:80/index.php?/projects/scaffold/,
accessed August 2,
2019.
(4)
Viso, “Learning
in
Public.”
(5)
From Durant’s removed
text from his website,
http://web.archive.org/web/20161017112101/http://www.samdurant.net:80/index.php?/projects/scaffold/
(6)
Viso, “Learning in
Public.”
(7)
Sheila Regan, “After
Protest from Native American
Community, Walker Art Center Will
Remove Public Sculpture,” Hyperallergic, May
29, 2017,
https://hyperallergic.com/382141/after-protests-from-native-american-community-walker-art-center-will-remove-public-sculpture/,
accessed August 2,
2019.
(8)
“A Statement from Olga
Viso,” posted on the Walker Center’s
Facebook page, May 27, 2017,
https://www.facebook.com/walkerartcenter/posts/10155306124008180,
accessed August 2,
2019.
(9)
Andy Battaglia, Sarah
Douglas, and Andrew Russeth, “After
Announcement That Olga Viso Will Step
Down as Walker Director, Museum
Professionals Largely Praise Handling
of ‘Scaffold’ Controversy,” ArtNews,
November 17, 2017,
http://www.artnews.com/2017/11/17/announcement-olga-viso-will-step-walker-director-museum-professionals-largely-praise-handling-scaffold-controversy/,
accessed August 2,
2019.
(10)
Ashley Fairbanks,
“Genocide and Mini-golf in the Walker
Sculpture Garden,” Citypages, May 27,
2017,
http://www.citypages.com/arts/genocide-and-mini-golf-in-the-walker-sculpture-garden/424797173,
accessed August 2,
2019.
(11)
For a summary of the
history of the work and its reception
see Jane F. Gerhard, The Dinner Party:
Judy Chicago and the Power of
Popular Feminism,
1970–2007 (Athens:
University of Georgia Press, 2013),
esp. 211–282.
(12)
Elizabeth A. Sackler is
related to the Sacklers involved in
the opiate/pharmaceutical lawsuits,
which also impacted the art world as
the Sackler family donated to many
arts institutions. Her branch of the
family, however, had divested from
the company involved in the lawsuits
before its promotion of opiates
began.
(13)
Michael Kelly, “Danto
and Krauss on Cindy Sherman,” in
Art
History, Aesthetics, Visual
Studies, edited by
Michael Ann Holly and Keith Moxey
(Williamstown, MA: Clark Art
Institute, 2002),
128.
(14)
Helpful in thinking
about the issues of the impact of
colonialism on museums is Art History in the
Wake of the Global
Turn, edited by Jill
H. Casid and Aruna D’Souza
(Williamstown, MA: Clark Art
Institute,
2014).
(15)
Emily L. Moore,
Proud
Raven, Panting Wolf
(Seattle: University of Washington
Press, 2018),
6-7.
(16)
For classic sources on
the history of museums and the
history of collecting, see: Tony
Bennett, The
Birth of the Museum
(London: Routledge, 1995); David
Carrier, Museum Skepticism: A History of
the Display of Art in Public
Galleries (Durham:
Duke University Press, 2006); Douglas
Crimp, On the
Museum’s Ruins
(Cambridge, MA: MIT Press, 1993); and
Carol Duncan, Civilizing Rituals: Inside
Public Art Museums
(London: Routledge,
1995).
(17)
Svetlana Alpers, “The
Museum as a Way of Seeing,” in
Exhibiting Cultures: The Poetics
and Politics of Museum
Display, edited by
Ivan Karp and Steven D. Lavine
(Washington, DC: Smithsonian
Institution Press, 1991),
27.
(18)
David Carrier and
Joachim Pissarro, Aesthetic of the
Margins/The Margins of
Aesthetics (University
Park: Penn State University Press,
2019), 191.
(19)
Bennett, The Birth of the
Museum,
126.
(20)
For a great study of
African art and French museum history
see Sally Price, Paris Primitive:
Jacques Chirac’s Museum on the
Quai Branly (Chicago:
University of Chicago Press,
2007).
(21)
Moore, Proud Raven,
Panting Wolf,
4.
(22)
See Haidy Geismar,
Museum
Object Lessons for the Digital
Age (London: UCL
Press, 2018).
(23)
For a full analysis of
Kinkade and dialogues about visual
culture see Thomas Kinkade: The Artist in
the Mall, edited by
Alexis L. Boylan (Durham: Duke
University Press,
2011).
(24)
Clement Greenberg,
“Avant-Garde and Kitsch,” in
Clement
Greenberg: The Collected Essays
and Criticism, edited
by John O’Brian, vol. 1 (Chicago:
University of Chicago Press, 1986),
5–22.
(25)
For a smart essay on
this period of seeing and not seeing
coffins in relation to military
policy see Rebecca A. Adelman, “The
‘Coffin,’ the Camera, and the
Commodity: Visualizing American
Military Dead at Dover,” in On Not Looking: The
Paradox of Contemporary Visual
Culture, edited by
Frances Guerin (New York: Routledge,
2015),
229–250.
(26)
Marlon Bailey, Butch Queens Up in
Pumps: Gender, Performance, and
Ballroom Culture in
Detroit (Ann Arbor:
University of Michigan Press, 2013),
4.
(27)
Much has been written
about Livingston’s film, as well as
Madonna’s videos. While they are a
bit dated, still crucial reading on
these productions are bell hooks,
Black
Looks: Race and
Representation
(Boston: South End Press, 1992),
145–156, and Judith Butler, Bodies That
Matter (London:
Routledge, 1993),
121–140.
(28)
Allan deSouza, How Art Can Be
Thought: A Handbook for
Change (Durham: Duke
University Press, 2018),
13.
(29)
Gregory Sholette,
Delirium
and Resistance: Activist Art and
the Crisis of
Capitalism, edited by
Kim Charnley (London: Pluto Press,
2017), 52.
الفصل الثالث: مَن؟
(1)
Bruce Springsteen,
“Pink Cadillac,” released in 1984
as the B-side of “Dancing in the
Dark.”
(2)
Mike Allen, “Obama Slams
New Yorker Portrayal,” Politico, July 13, 2008,
https://www.politico.com/story/2008/07/obama-slams-new-yorker-portrayal-011719,
accessed August 14,
2019.
(3)
Nico Pitney, “Barry
Blitt Defends His New Yorker Cover of
Obama,” HuffPost, July 21,
2008,
https://www.huffpost.com/entry/barry-blitt-addresses-his_n_112432,
accessed August 14,
2019.
(4)
Rachel Sklar, “David
Remnick on That New Yorker Cover:
It’s Satire, Meant to Target
‘Distortions and Misconceptions and
Prejudices’ about Obama,” HuffPost, July 21, 2008,
https://www.huffpost.com/entry/david-remnick-on-emnew-yo_n_112456,
accessed August 29,
2019.
(5)
Feminist interventions
are crucial here, and film theorist
Laura Mulvey’s work is an oft-cited
voice. Likewise, the work of art
historian Griselda Pollock, and that
of Tania Modleski in regard to this
gaze in television and film, are
fundamental. The intersectional
ramifications for the gaze will be
discussed later in this
chapter.
(6)
Nicholas
Mirzoeff, The Right to Look: A
Counterhistory of
Visuality (Durham:
Duke University Press, 2011),
1.
(7)
See On Not Looking: The
Paradox of Contemporary Visual
Culture, edited by
Frances Guerin (New York: Routledge,
2015), and Unwatchable, edited
by Nicholas Baer, Maggie Hennefeld,
Laura Horak, and Gunnar Iversen (New
Brunswick, NJ: Rutgers University
Press, 2019).
(8)
For a brief history of
the term see Derek Conrad Murray,
“Notes to Self: The Visual Culture of
Selfies in the Age of Social Media,”
Consumption Markets and
Culture 18, no. 6
(2015): 491-492. See too Nicholas
Mirzoeff, How
to See the World
(London: Penguin, 2015), 31–33 and
62–69.
(9)
Celia Walden, “We Take 1
Million Selfies Every Day—but What
Are They Doing to Our Brains?,”
Telegraph, May 24,
2016,
https://www.telegraph.co.uk/women/life/we-take-1-million-selfies-every-day---but-what-are-they-doing-to/,
accessed August 16, 2019; and Sarah
Cascone, “24 Billion Photos Prove Our
Selfie Obsession Is Out of Control,”
Art
News, June 1, 2016,
https://news.artnet.com/art-world/24-billion-selfies-uploaded-to-google-in-a-year-508718,
accessed August 29,
2019.
(10)
For a nuanced discussion
of both these positions, see
Selfie
Nation, edited by Adi
Kuntsman (London: Palgrave Macmillan,
2017).
(11)
Derek Conrad Murray,
“Selfie Consumerism in a Narcissistic
Age,” Consumption Markets and
Culture 23, no. 1
(2020): 21–43.
(12)
Martin Graff, “Are You
Taking Too Many Selfies?,” Psychology
Today, April 26, 2018,
https://www.psychologytoday.com/us/blog/love-digitally/201804/are-you-taking-too-many-selfies;
and “Too Many Selfies?,” CBS
News, February 21, 2018,
https://www.cbsnews.com/news/too-many-selfies-you-may-have-selfitis/,
accessed August 29,
2019.
(13)
Sara Tasker, Hashtag
Authentic (London:
White Lion Publishing, 2019),
13.
(14)
John Berger, Ways of
Seeing (London: BBC
and Penguin Books, 1972),
46-47.
(15)
Ruth Curry, “Toward a
Unified Theory of Kim Kardashian,”
Brooklyn
Magazine, September
14, 2014,
http://www.bkmag.com/2014/09/10/toward-a-unified-theory-of-kim-kardashian-hollywood/,
accessed August 16, 2019. See too
Murray, “Selfie Consumerism in a
Narcissistic Age,” for a reading of
the feminist potential of
selfies.
(16)
Hillary Clinton, DNC
Women’s Leadership Forum, Marriott
Marquis Hotel, Washington, DC,
September 19, 2014,
http://www.p2016.org/clinton/clinton091914spt.html,
accessed August 17,
2019.
(17)
Arielle Azoulay,
The Civil
Contract of
Photography
(Cambridge, MA: MIT Press, 2008),
269.
(18)
See
https://projectunbreakable.tumblr.com/post/18913383586/faq,
accessed August 17,
2019.
(19)
Anemona Hartocollis,
“Taking on Harvard over Rights to
Slave Photos,” New York
Times, March 21, 2019,
Section A, 1.
(20)
See Aruna D’Souza’s
sharp and insightful Whitewalling: Art,
Race, and Protest in 3
Acts (New York:
Badlands Unlimited, 2018) for a
longer treatment of the visual
consequences of the Whitney’s
handling of this incident and the
more profound history of African
American conflict with
white-controlled museum
spaces.
(21)
Tom Gunning, “Truthiness
and the More Real: What Is the
Difference?,” in Elizabeth Armstrong
et al., More
Real? Art in the Age of
Truthiness
(Minneapolis: Minneapolis Institute
of Arts; Munich: Delmonico
Books/Prestel, 2012),
179.
(22)
Sarah Lewis, “The Racial
Bias Built into Photography,”
New York
Times, April 25, 2019,
https://www.nytimes.com/2019/04/25/lens/sarah-lewis-racial-bias-photography.html#,
accessed April 17,
2019.
(23)
Clemens Apprich,
“Introduction,” in Clemens Apprich,
Wendy Hui Kyong Chun, Florian Cramer,
and Hito Steyerl, Pattern
Discrimination
(Minneapolis: University of Minnesota
Press, 2019),
x.
(24)
Michael Omi and Howard
Winant answer this question more
directly, arguing that “there is a
crucial and non-reducible visual
dimension to the definition and
understanding of racial categories.”
See Omi and Winant, Racial Formation in
the United States (New
York: Routledge, 2015), 111. Thanks
to the outside reviewer for this note
and for pushing this
question.
(25)
Johanna Burton,
“Irreconcilable Difference,” in
Trigger:
Gender as a Tool and a
Weapon, edited by
Johanna Burton and Natalie Bell (New
York: New Museum, 2017),
15.
(26)
Mirzoeff, The Right to
Look, 1 and
309.
(27)
For an article on the
intersectional potential of Thomas’s
work see Derek Conrad Murray,
“Afro-Kitsch and the Queering of
Blackness,” American Art 28, no.
1 (Spring 2014):
9–15.
(28)
Huey Copeland and Krista
Thompson, “Afrotropes: A User’s
Guide,” Art
Journal 76
(Fall-Winter 2017):
7.
(29)
Hito Steyerl, The Wretched of the
Screen (Berlin:
Sternberg Press, 2012),
187.
(30)
See Lyra D. Monteiro,
“Race-Conscious Casting and the
Erasure of the Black Past in
Lin-Manuel Miranda’s Hamilton,”
Public
Historian 38, no. 1
(February 2016):
89–98.
(31)
For more on contemporary
visual dialogues about migration see
T. J. Demos, The Migrant Image: The Art and
Politics of Documentary during
Global Crisis (Durham:
Duke University Press,
2013).
(32)
Kobena Mercer,
“Photography’s Time of Dispersal and
Return,” in Art History in the Wake of the
Global Turn, edited by
Jill H. Casid and Aruna D’Souza
(Williamstown, MA: Clark Art
Institute, 2014),
71.
(33)
Steyerl,
The
Wretched of the
Screen,
168.
الفصل الرابع: متى؟
(1)
Press release,
“Astronomers Capture First Picture of
Black Hole,”
https://eventhorizontelescope.org/,
accessed August 24,
2019.
(2)
Nicholas Mirzoeff,
How to
See the World (London:
Penguin, 2015),
4.
(3)
For a smart analysis of
images of the moon, particularly in
regard to the advent of photography,
see Mia Fineman and Beth Saunders,
Apollo’s
Muse: The Moon in the Age of
Photography (New York:
Metropolitan Museum of Art; New
Haven: Yale University Press,
2019).
(4)
Ota Lutz, “How
Scientists Captured the First Image
of a Black Hole,” April 19, 2019, for
NASA Jet Propulsion Laboratory,
California Institute of Technology,
https://www.jpl.nasa.gov/edu/news/2019/4/19/how-scientists-captured-the-first-image-of-a-black-hole/,
accessed August 19,
2019.
(5)
Ibid.
(6)
“Key Science Objective,”
from the Event Horizon Telescope
website,
https://eventhorizontelescope.org/science,
accessed August 19,
2019.
(7)
Lisa Messeri, Placing Outer
Space: An Earthly Ethnography of
Other Worlds (Durham:
Duke University Press, 2016), 61-62.
See too the very smart study by
Elizabeth A. Kessler, Picturing the
Cosmos: Hubble Space Telescope
Images and the Astronomical
Sublime (Minneapolis:
University of Minnesota Press,
2012).
(8)
Thanks to Nathan Braccio
for talking me through Indigenous
mapmaking. See his forthcoming
dissertation, “Parallel Landscapes:
Algonquian and English Spatial
Understandings of New England,
1500–1700.”
(9)
For a thoughtful
critical engagement with the
complexity of the visual culture of
taxidermy see Rachel Poliquin,
The
Breathless Zoo: Taxidermy and the
Cultures of Longing
(University Park: Penn State
University Press),
2012.
(10)
Amitav Ghosh, The Great
Derangement: Climate Change and
the Unthinkable
(Chicago: University of Chicago
Press, 2016),
135.
(11)
This is a reference to
Al Gore’s film An Inconvenient
Truth. As scholar
Julie Doyle notes, the polar bear has
made it hard to see climate change as
“a human concern in the present.” See
Julie Doyle, “Imaginative
Engagements: Critical Reflections on
Visual Arts and Climate Change,” in
Art,
Theory and Practice in the
Anthropocene, edited
by Julie Reiss (Wilmington, DE:
Vernon Press, 2019),
47.
(12)
See Rob Nixon, Slow Violence and
the Environmentalism of the
Poor (Cambridge, MA:
Harvard University Press, 2011),
1–45.
(13)
Other versions of time
and place and change have included
arguments for seeing the when
as the Great Acceleration,
Capitalocence, Chthulucene,
Homogenocene, Meghalayan. Although
she is advancing her own term
(Chthulucene), Haraway’s explanation
of the importance of these terms is
helpful. See Donna Haraway, Staying with the
Trouble: Making Kin in the
Chthulucene (Durham:
Duke University Press, 2016),
30–57.
(14)
Nicholas Mirzoeff,
“Visualizing the Anthropocene,”
Public
Culture 26, no. 2 (May
1, 2014): 213.
(15)
Donna Haraway, “Situated
Knowledges: The Science Question in
Feminism and the Privilege of Partial
Perspective,” Feminist Studies 14,
no. 3 (Autumn 1988):
581.
(16)
Haraway, Staying with the
Trouble,
1.
(18)
Andrea DenHoed, “An
Agoraphobic Photographer’s Virtual
Travels, on Google Street View,”
New
Yorker, June 29, 2017,
https://www.newyorker.com/culture/photo-booth/an-agoraphobic-photographers-virtual-travels-on-google-street-view,
accessed August 19,
2019.
(19)
Messeri, Placing Outer
Space,
11.
(20)
Ibid.,
12.
(21)
For more on these
scrolls, see
https://www.metmuseum.org/toah/works-of-art/1987.278a,b/,
accessed November 4,
2019.
(22)
T. J. Demos, Against the
Anthropocene: Visual Culture and
Environment Today
(Berlin: Sternberg Press, 2017),
18.
(23)
Greg Milner, Pinpoint: How GPS
Is Changing Technology, Culture,
and Our Minds (New
York: W. W. Norton, 2017),
269.
(24)
Wendy Hui Kyong Chun,
Control
and Freedom: Power and Paranoia
in the Age of Fiber
Optics (Cambridge, MA:
MIT Press, 2006),
30.
(25)
Janet Vertesi, Seeing Like a
Rover: How Robots, Teams, and
Images Craft Knowledge of
Mars (Chicago:
University of Chicago Press, 2015),
16. See too, for insightful critique
of the science of seeing, Marita
Sturken and Lisa Cartwright,
Practices
of Looking: An Introduction to
Visual Culture, 3rd
ed. (New York: Oxford University
Press, 2018),
337–378.
(26)
Joanna Zylinska,
Nonhuman
Photography
(Cambridge, MA: MIT Press, 2017),
2.
(27)
Ibid.,
15.
(28)
Alex Bush, “Breakaway,”
in Unwatchable, edited
by Nicholas Baer, Maggie Hennefeld,
Laura Horak, and Gunnar Iversen (New
Brunswick, NJ: Rutgers University
Press, 2019), 69 and
71.
(29)
E. Ann Kaplan, Climate Trauma:
Seeing the Future in Dystopian
Film and Fiction (New
Brunswick, NJ: Rutgers University
Press, 2016),
8.
(30)
See Alexis L. Boylan,
Anna Mae Duane, Mike Gill, and
Barbara Gurr, Furious Feminisms: Alternate
Routes on “Mad Max: Fury
Road” (Minneapolis:
University of Minnesota Press,
2020).
(31)
Nixon, Slow
Violence,
3.
(32)
Valerie Hegarty,
email to the author, August 29,
2019.
(33)
For a brilliant
exhibition catalogue and dialogue
about Han in the context of
contemporary Asian art, see Al Miner
and Laura Weinstein, Megacities
Asia (Boston: Museum
of Fine Arts, 2016), esp.
105–109.
خاتمة
(1)
Caitlin Horrocks,
“The Ordinary Woman Theory,”
Paris
Review, July 30, 2019,
https://www.theparisreview.org/blog/2019/07/30/the-ordinary-woman-theory/
(2)
Jennifer Van Horn, “‘The
Dark Iconoclast’: African Americans’
Artistic Resistance in the Civil War
South,” Art
Bulletin 99, no. 4 (2017):
133–167.
(3)
Ibid.,
143.
(4)
See Anjan Chatterjee,
The Aesthetic
Brain: How We Evolved to Desire
Beauty and Enjoy Art
(Oxford: Oxford University Press, 2013);
Eric Kandel, Reductionism in Art and Brain
Science: Bridging the Two
Cultures (New York:
Columbia University Press, 2013); John
Onians, Neuroarthistory: From Aristotle and
Pliny to Baxandall and
Zeki (New Haven: Yale
University Press, 2007); G. Gabrielle
Starr, Feeling
Beauty: The Neuroscience of Aesthetic
Experience (Cambridge, MA:
MIT Press, 2013); Marine Vernet, “How Art
and Neuroscience Fell for Each Other,” in
Aesthetics
and Neuroscience, edited
by Zoï Kapoula and Marine Vernet (Cham,
Switzerland: Springer, 2016), 81–89; and
Semir Zeki, Inner
Vision: An Exploration of Art and the
Brain (Oxford: Oxford
University Press, 1999). In regard to
artificial intelligence, very helpful is
Susan Schneider, Artificial You: AI and the Future of
your Mind (Princeton:
Princeton University Press, 2019).
Finally, for a truly provocative
consideration of sight, truth, and
evolution see Donald Hoffman, The Case against
Reality: Why Evolution Hid the Truth
from Our Eyes (New York:
W. W. Norton,
2019).
(5)
Trevor Paglen, “Invisible
Images (Your Pictures Are Looking at
You),” New
Inquiry, December 8, 2016,
https://thenewinquiry.com/invisible-images-your-pictures-are-looking-at-you/,
accessed August 26, 2019. Thanks to Brian
Bishop for suggesting this
essay.
(6)
Sara Ahmed, The Promise of
Happiness (Durham: Duke
University Press, 2010),
20.
