What Do Pictures Want?: The Lives and Loves of Images
University of Chicago Press, 15. jun. 2005 - 380 sider
Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray?
According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm.
What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.
“A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum
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1 Vital Signs Cloning Terror
2 What Do Pictures Want?
3 Drawing Desire
4 The Surplus Value of Images
5 Founding Objects
6 Offending Images
7 Empire and Objecthood
8 Romanticism and the Life of Things
10 Addressing Media
11 Abstraction and Intimacy
12 What Sculpture Wants
13 The Ends of American Photography
14 Living Color
15 The Work of Art in the Age of Biocybernetic Reproduction
16 Showing Seeing
9 Totemism Fetishism Idolatry
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abstract painting aesthetics American animal Antony Gormley art history artist beholder biocybernetic blackface body called chapter Chicago Press cloning concept Courtesy critical critique deﬁned desire dialectical diﬀerence diﬀerentiate dinosaur discussion disﬁgurement eﬀect eﬀort empire especially essay fantasy fetishism ﬁeld ﬁg ﬁgure ﬁlm ﬁnally ﬁnd ﬁrst fossil found object Gallery gesture golden calf Gormley’s human icon iconoclasm Iconology idolatry idols imperial inﬁnite Jacques Lacan kind Lacan language life-forms living material mean medium metaphor modern modernist Museum natural notion objecthood oﬀ oﬀending images oﬀensive oﬀer organisms perhaps photographic pictorial Picture Theory pictures want political produce question reﬂection relation representation reproduction ritual Robert Frank role Romanticism sacriﬁce scene scientiﬁc sculpture seems sense social space speciﬁc status stereotype symbolic things tion totem traditional trans ture University of Chicago University Press Videodrome vision visual culture visual studies W. J. T. Mitchell William Blake words York Zˇizˇek
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