History of Visual Culture

Jane Kromm is Professor of Art History at Purchase College, State University of New York and author of The Art of Frenzy: Public Madness in the Visual Culture of Europe, 1500-1850. Susan Benforado Bakewell is an independent curator and scholar, and has taught at the University of Texas, Arlington and Southern Methodist University. She is co-editor of Voices in New Mexico Art.

• General Introduction Jane Kromm Part One: Revolt and Revolution Introduction Chapter 1: Helen Weston, 'The Politics of Visibility in Revolutionary France: Projecting on the Streets' Chapter 2: Richard Taws, '19th c. Revolutions and Strategies of Visual Persuasion' Chapter 3: Elizabeth Guffey, 'Socialist Movements and the Development of the Political Poster' Chapter 4: Jelena Stojanovia, 'Avant-gardes and the Culture of Protest: The Use-Value of Iconoclasm' Part Two: Science and Empiricism Introduction Chapter 5: Jane Kromm, 'To Collect is to Quantify and Describe: Visual Practices in the Development of Modern Science' Chapter 6: Fae Brauer, 'The Transparent Body: Biocultures of Evolution, Eugenics, and Scientific Racism' Chapter 7: Heather McPherson, 'Biology and Crime: Degeneracy and the Visual Trace' Chapter 8: Nancy Anderson, 'Visual Models and Scientific Breakthroughs; The Virus and the Geodesic Dome: Pattern, Production, Abstraction and the Ready-Made Model' Part Three: Gaze and Spectacle Introduction Chapter 9: Temma Balducci, 'Gaze, Body and Sexuality: Modern Rituals of Looking and Being Looked at' Chapter 10: Jane Kromm, 'The Flaneur/Flaneuse Phenomenon' Chapter 11: Elana Shapira, 'Gaze and Spectacle in the Calibration of Class and Gender: Visual Culture in Vienna 1900' Chapter 12: Fae Brauer, 'The Stigmata of Abjection: Degenerate Limbs, Hysterical Skin and the Tattooed Body' Part Four: Acquisition, Display, and Desire Introduction Chapter 13: Jane Kromm, 'To the Arcade: The World of the Shop and the Store' Chapter 14: Amy Ogata, '"To See is to Know:" Visual Knowledge at the International Expositions' Chapter 15: Susan Bakewell, 'Changing Museum Spaces: From the Prado to the Guggenheim Bilbao' Chapter 16: Michael Golec, 'Design for a Display Culture: Domestic Engineering to Design Research' Part Five: Conquest, Colonialism, and Globalization Introduction Chapter 17: Matthew Potter, 'Orientalism and its Visual Regimes: Lovis Corinth and Imperialism in the Art of the Kaiserreich' Chapter 18: Marcus Wood, 'Marketing the Slave Trade: Slavery, Photography and Emancipation' Chapter 19: Kim Masteller, 'Cultures of Confiscation: The Collection, Appropriation and Destruction of South Asian Art' Chapter 20: Nada Shabout, 'Trading Cultures: The Boundary Issues of Globalization' Part Six: Image and Reality Introduction Chapter 21: Joy Sperling, 'Multiples and Reproductions: Prints and Photographs in 19th c. England; Visual Communities, Cultures, and Class' Chapter 22: Jane Kromm, 'Inventing the Mise-en-scene: German Expressionism and the Silent Film Set' Chapter 23: Sarah Warren, 'The Reality of the Abstract Image: Re-thinking Spirituality in Abstraction' Part Seven: Media and Visual Technologies Introduction Chapter 24: Brenda DeMartini-Squires, 'Now You See It: Disinformation and Disorientation on the Internet' Chapter 25: Kathryn Shields, 'Carnival Mirrors: The Hermetic World of the Music Video' Chapter 26: Matt Ferranto, 'Digital Self-fashioning in Cyberspace: The New Digital Self-Portrait' Chapter 27A: Martin Danahay, 'Video Games: Art, Cinema and Interactivity' Chapter 27B: Chris Kaczmarek, 'What You See is What You Get, or Reality is What you Take From It'

"This is the only treatment of visual culture with a broad temporal reach across a range of Western art practices that emphasizes the historical specificity of the visual experience. The approach - to highlight the key themes in visual culture and to illustrate these themes chronologically through carefully chosen case studies - is very effective." Kathleen Stewart Howe, Art and Art History, Pomona College, USA