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Jeremy Gilbert-Rolfe brings to Melville's work the insight not only
of an art critic and theorist, but of a practicing artist as well.
Navigating through the complexity of contemporary thought and
philosophy, Gilbert-Rolfe unravels the Gordian knot of the diverse
discourses that circumscribe Melville's views, revealing the
practicality and clarity of Melville's speculative
narratives.
Stephen Melville is one of the most thoughtful critics to emerge in
recent years. He has applied the tools developed by Jacques Derrida
and Jacques Lacan to the problems of contemporary art. With his
roots in Kant, Hegel, and Heidegger, he reopens questions of art's
reception, interpretation, and commentary. Not only does he
articulate the limitations of these categories, and how they are
set into motion-stasis and balance are not the goal. He
demonstrates how the territory of each of these discourses is
maintained by their relationship to one another. Melville's texts
not only represent the complexity of his subjec
Stephen Melville is one of the most thoughtful critics to emerge in
recent years. He has applied the tools developed by Jacques Derrida
and Jacques Lacan to the problems of contemporary art. With his
roots in Kant, Hegel and Heidegger, he reopens questions of art's
reception, interpretation and commentary. He demonstrates how the
territory of each of these discourses is maintained by their
relationship to one another. Melville's texts not only represent
the complexity of his subject, but also the intricate interface
between the art object, history and philosophical interpretation.
Jeremy Gilbert-Rolfe brings to Melville's work the insight not only
of an art critic and theorist, but of a practicing artist as well.
Navigating the complexity of contemporary thought and philosophy,
Gilbert-Rolfe unravels the Gordian knot of the diverse discourses
that circumscribe Melville's views, revealing the practicality and
clarity of Melville's speculative narratives.
The influence of contemporary literary theory on art history is
increasingly evident, but there is little or no agreement about the
nature and consequence of this new intersection of the visual and
the textual. Vision and Textuality brings together essays by many
of the most influential scholars in the field--both young and more
established writers from the United States, England, and France--to
address the emergent terms and practices of contemporary art
history.
With essays by Rosalind Krauss, Hal Foster, Norman Bryson, Victor
Burgin, Martin Jay, Louis Marin, Thomas Crow, Griselda Pollock, and
others, the volume is organized into sections devoted to the
discipline of art history, the implications of semiotics, the new
cultural history of art, and the impact of psychoanalysis. The
works discussed in these essays range from Rembrandt's Danae to
Jorge Immendorf's Cafe Deutschland, from Vauxhall Gardens to Max
Ernst, and from the Imagines of Philostratus to William Godwin's
novel Caleb Williams. Each section is preceded by a short
introduction that offers further contexts for considering the
essays that follow, while the editors' general introduction
presents an overall exploration of the relation between vision and
textuality in a variety of both institutional and theoretical
contexts. Among other issues, it examines the relevance of
aesthetics, the current concern with modernism and postmodernism,
and the possible development of new disciplinary formations in the
humanities.
This collection, offering a wide-ranging survey of the impact of
critical theory on teh discipline and practice of art history, will
be of interest to all students of the visual arts and
aesthetics.Contributors. Mieke Bal, John Bender, Norman Bryson,
Victor Burgin, Thomas Crow, Peter de Bolla, Hal Foster, Michael
Holly, Martin Jay, Rosalind Krauss, Francoise Lucbert, Louis
Martin, Stephen Melville, Griselda Pollock, Bill Readings, Irit
Rogoff, Bennet Schaber, John Tagg
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