Images and Visual Research: Images as...

This theme asks you to think about who are the subjects of the image, who has the right to create images, who has the right to object, and who has the right to look? As you think about these questions, consider how the answers might affect the narrative created by the viewer, creator, and subject of the images. 

BOOKS FROM THE LIBRARY

ARTICLES and BOOK CHAPTERS

• hooks, bell. "the oppositional gaze black female spectators." In Black Looks: Race and Representation. New York: Routledge, 2015.
• Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen 16.3 (1975): 6-18.
• Raento, Pauliina, and Stanley D. Brunn. "Visualizing Finland: Postage Stamps as Political Messengers." Geografiska Annaler. Series B, Human Geography 87, no. 2 (2005): 145-63. 

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This theme asks you to think about the production of the image - how it was made, what materials were used, and how was the image originally displayed or is currently displayed - and then how its materiality affects your interpretation of the image. 

ARTICLES and BOOK CHAPTERS

• Kinerk, Michael D., and Dennis W. Wilhelm. "Dream Palaces: The Motion Picture Playhouse in the Sunshine State." The Journal of Decorative and Propaganda Arts 23 (1998): 209-37. 
• Klonk, Charlotte. "The Spectator as Citizen." In Spaces of Experience: Art Gallery Interiors from 1800-2000, 19-47. New Haven: Yale University Press, 2009. 
• Osmond, Gary. "Reflecting materiality: reading sport history through the lens." Rethinking History 12, no. 3 (September 2008): 339-360.
• Roessel, Annemarie van. "Through a Glass, Brightly: Re-viewing a Lost Architectural and Pedagogical Landscape Through Historic Lantern Slides." Art Documentation: Bulletin Of The Art Libraries Society Of North America 22.1 (2003): 4-8.
• Williams, Elizabeth. "Missing Slides." VRA Bulletin 34.2 (2007): 51-53. 

FROM THE WEB

Making Green: Tempera versus Oil, National Gallery - London

BOOKS FROM THE LIBRARY

This theme asks you to think about the image in relation to the people, objects, places, or information it portrays. What decisions were made by the author of the image? How are the subjects, information, or data of the image portrayed? How does it affect your interpretation of the image? Images are never neutral. 

ARTICLES AND BOOK CHAPTERS

• Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In The Nineteenth-Century Visual Culture Reader, edited by Vanessa R. Schwartz and Jeannene M. Przyblyski. New York: Routledge, 2004. 
• Brubaker, Leslie. "Representation C. 800: Arab, Byzantine, Carolingian." Transactions of the Royal Historical Society, Sixth Series, 19 (2009): 37-55.
• Conway, Paul. "Modes of Seeing: Digitized Photographic Archives and the Experienced User." The American Archivist 73 (2010): 425-462.
• Schwartz, Barry. "Iconography and Collective Memory: Lincoln's Image in the American Mind." The Sociological Quarterly 32, no. 3 (1991): 301-19.

Similar to Representation/Surrogate, this theme asks you to think about which types of images you privilege as more accurate or more true. Why does this hierarchy exist? Why do you assume one image may be more truthful than another? 

ARTICLES AND BOOK CHAPTERS

• Borge, Michelle. "Evidence, memory and the malleable photograph." Scene 5.1 (2017): 37-46.
• Daston, Lorraine, and Peter Galison. "The Image of Objectivity." Representations, no. 40 (1992): 81-128.
• Jacob, Christian. "Toward a Cultural History of Cartography." Imago Mundi 48 (1996): 191-98. 
• Craib, Raymond B. "Cartography and Power in the Conquest and Creation of New Spain." Latin American Research Review 35, no. 1 (2000): 7-36.

FROM THE WEB

BOOKS FROM THE LIBRARY