Seeing Differently offers a history and theory of ideas about
identity in relation to visual arts discourses and practices in
Euro-American culture, from early modern beliefs that art is an
expression of an individual, the painted image a "world picture"
expressing a comprehensive and coherent point of view, to the rise
of identity politics after WWII in the art world and beyond. The
book is both a history of these ideas (for example, tracing the
dominance of a binary model of self and other from Hegel through
classic 1970s identity politics) and a political response to the
common claim in art and popular political discourse that we are
"beyond" or "post-" identity. In challenging this latter claim,
Seeing Differently critically examines how and why we "identify"
works of art with an expressive subjectivity, noting the
impossibility of claiming we are "post-identity" given the
persistence of beliefs in art discourse and broader visual culture
about who the subject "is," and offers a new theory of how to think
this kind of identification in a more thoughtful and self-reflexive
way. Ultimately, Seeing Differently offers a mode of thinking
identification as a "queer feminist durational" process that can
never be fully resolved but must be accounted for in thinking about
art and visual culture. Queer feminist durationality is a mode of
relational interpretation that affects both "art" and
"interpreter," potentially making us more aware of how we evaluate
and give value to art and other kinds of visual culture.
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