Intermediality, figurability, iconotext, visual exegesis: these are some of the many new ways in which the relationship between text and image has been explored in recent decades. Scholars have benefited from theoretical work in the fields of anthropology, psychoanalysis, and semiotics, alongside more traditional fields such as literature, art history and cultural history. Focusing on religious texts and images between 1400 and 1700, the essays gathered in this volume contribute to these developments by grounding their case studies in methodology. In considering various relations between the visual and the verbal, the editors have adopted the broadest position possible, emphasizing the phenomenological point of view from which the objects under discussion are examined. Contributors to this volume: Ralph Dekoninck, Anna Dlabacova, Gregory Ems, Ingrid Falque, Agnes Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.

The professional career and success of Wilhelm Bode (1845-1929) relied on the business of connoisseurship. Like other contemporary art historians involved in the commerce of art, he was entangled in the reciprocal dynamics and interdependencies of the nascent discipline of art history, connoisseurship and the art trade. The volume introduces new material and a fresh perspective on Bode's strategic participation in the Western art market, exposing the particular consequences of these entanglements on the birth of the art historical canon and showcasing his complex agency within the art marketplace of the late nineteenth and the early twentieth centuries.

Abolitionist Cosmopolitanism redefines the potential of American antislavery literature as a cultural and political imaginary by situating antislavery literature in specific transnational contexts and highlighting the role of women as producers, subjects, and audiences of antislavery literature. Pia Wiegmink draws attention to locales, authors, and webs of entanglement between texts, ideas, and people. Perceived through the lens of gender and transnationalism, American antislavery literature emerges as a body of writing that presents profoundly reconfigured literary imaginations of freedom and equality in the United States prior to the Civil War.

Metaphor, which allows us to talk about things by comparing them to other things, is one of the most ubiquitous and adaptable features of language and thought. It allows us to clarify meaning, yet also evaluate and transform the ways we think, create and act. While we are alert to metaphor in spoken or written texts, it has, within the visual arts, been critically overlooked. Taking into consideration how metaphors are inventively embodied in the formal, technical, and stylistic aspects of visual artworks, Mark Staff Brandl shows how extensively artists rely on creative metaphor within their work. Exploring the work of a broad variety of artists - including Dawoud Bey, Dan Ramirez, Gaelle Villedary, Raoul Deal, Sonya Clark, Titus Kaphar, Charles Boetschi, and more- he argues that metaphors are the foundation of visual thought, are chiefly determined by bodily and environmental experiences, and are embodied in artistic form. Visual artistic creation is philosophical thought. By grounding these arguments in the work of philosophers and cultural theorists, including Noel Carroll, Hans Georg Gadamer, and George Lakoff, Brandl shows how important metaphor is to understanding contemporary art. A Philosophy of Visual Metaphor in Contemporary Art takes a neglected feature of the visual arts and shows us what a vital role it plays within them. Bridging theory and practice, and drawing upon a capacious array of examples, this book is essential reading for art historians and practitioners, as well as analytic philosophers working in aesthetics and meaning.

Focusing on fine art and documentary photography, this book provides a diverse and inclusive version of photography history and its contemporary manifestations. Through 40 interviews with and profiles of photographers from underrepresented communities—those of African, Asian, Latino, Native American, Pacific Islander and Aleutian heritage, and other indigenous communities—this collection turns on its head homogenous visual culture. Essential reading for photography students and practitioners, this book celebrates the diversity of the real world with fascinating accounts of artists and the broad range of their challenges and successes: aspirations, photo series and photobooks, earning a living, discrimination, photography education, photographic practice, technical conversations, and more.

From climate change forecasts and pandemic maps to Lego sets and Ancestry algorithms, models encompass our world and our lives. In her thought-provoking new book, Annabel Wharton begins with a definition drawn from the quantitative sciences and the philosophy of science but holds that history and critical cultural theory are essential to a fuller understanding of modeling. Considering changes in the medical body model and the architectural model, from the Middle Ages to the twenty-first century, Wharton demonstrates the ways in which all models are historical and political. Examining how cadavers have been described, exhibited, and visually rendered, she highlights the historical dimension of the modified body and its depictions. Analyzing the varied reworkings of the Holy Sepulchre in Jerusalem-including by monumental commanderies of the Knights Templar, Alberti's Rucellai Tomb in Florence, Franciscans' olive wood replicas, and video game renderings-she foregrounds the political force of architectural representations. And considering black boxes-instruments whose inputs we control and whose outputs we interpret, but whose inner workings are beyond our comprehension-she surveys the threats posed by such opaque computational models, warning of the dangers that models pose when humans lose control of the means by which they are generated and understood. Engaging and wide-ranging, Models and World Making conjures new ways of seeing and critically evaluating how we make and remake the world in which we live.

This co-edited volume offers new insights into the complex relations between Brussels and Vienna in the turn-of-the-century period (1880-1930). Through archival research and critical methods of cultural transfer as a network, it contributes to the study of Modernism in all its complexity. Seventeen chapters analyse the interconnections between new developments in literature (Verhaeren, Musil, Zweig), drama (Maeterlinck, Schnitzler, Hofmannsthal), visual arts (Minne, Khnopff, Masereel, Child Art), architecture (Hoffmann, Van de Velde), music (Schoenberg, Ysaye, Kreisler, Kolisch), as well as psychoanalysis (Varendonck, Anna Freud) and cafe culture. Austrian and Belgian artists played a crucial role within the complex, rich, and conflictual international networks of people, practices, institutions, and metropoles in an era of political, social and technological change and intense internationalization. Contributors: Sylvie Arlaud, Norbert Bachleitner, Anke Bosse, Megan Brandow-Faller, Alexander Carpenter, Piet Defraeye, Clement Dessy, Aniel Guxholli, Birgit Lang, Helga Mitterbauer, Chris Reyns-Chikuma, Silvia Ritz, Hubert Roland, Inga Rossi-Schrimpf, Sigurd Paul Scheichl, Guillaume Tardif, Hans Vandevoorde.