Art Criticism - The State University of New York
Art Criticism - The State University of New York
Art Criticism - The State University of New York
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occurring in the human sciences, art history could very well find its theoretical<br />
marginality transformed into a position <strong>of</strong> intellectual centrality, in the form <strong>of</strong> a<br />
challenge to <strong>of</strong>fer an account <strong>of</strong> its principal theoretical object - visual<br />
representation - that will be usable by other disciplines in the human sciences"<br />
(Picture <strong>The</strong>ory: Essays on Visual and Verbal Representation [Chicago and<br />
London: <strong>University</strong> <strong>of</strong> Chicago Press, 1994], pp.l4-15).<br />
22 Foucault, Discipline and Punish, pp.30-31.<br />
23 Maurice Merleau-Ponty, "Eye and Mind," in <strong>The</strong> Merleau-Ponty Aesthetics<br />
Reader, ed. Gary A. Johnson (Evanstown: Northwestern UP, 1993), p.126.<br />
24 Ibid, p.123.<br />
25 For inquiry in the history <strong>of</strong> being, see the essays in Martin Heidegger, <strong>The</strong><br />
Question Concerning Technology and Other Essays, trans. William Lovitt (<strong>New</strong><br />
<strong>York</strong>: Harper and Row, 1977).<br />
26 Merleau-Ponty, "Eye and Mind," p.123.<br />
LI For a start on what a historical ontology <strong>of</strong> images might look like, see my<br />
"Raphael's Authorship in the Expulsion <strong>of</strong> Heliodorus," <strong>The</strong> <strong>Art</strong> Bulletin 79<br />
(September 1997): 469-492.<br />
2829. Paul Crowther has argued for the importance <strong>of</strong> the embodied meaning <strong>of</strong><br />
artworks in a trilogy <strong>of</strong> studies; see his Critical Aesthetics and Postmodernism<br />
(Oxford: Clarendon Press, 1993); idem, <strong>Art</strong> and Embodiment: from Aesthetics to<br />
Self-Consciousness (Oxford: Clarendon Press, 1993); and idem, <strong>The</strong> Language <strong>of</strong><br />
Twentieth-Century <strong>Art</strong>: A Conceptual History (<strong>New</strong> Haven and London: Yale<br />
UP), 1997.<br />
29 Hence there is a tw<strong>of</strong>oldness in the worldhood <strong>of</strong> a picture: (1) the picture as a<br />
thingly component woven into the world-contexture; and (2) the imaginary<br />
world opened up by the picture. Cf. the seminal discussion <strong>of</strong> tw<strong>of</strong>oldness in<br />
Richard Wollheim's Painting as an <strong>Art</strong> (Princeton: Princeton UP, 1987), chapter<br />
2. Whereas for Wollheim tw<strong>of</strong>oldness is internal to a picture (via the interplay<br />
<strong>of</strong> surface and virtual space), in the account I am developing tw<strong>of</strong>oldness is<br />
relational to the environment in which beholder and picture chiasmatically<br />
reside. From this latter perspective, Wollheim's account appears "worldless"<br />
and upholds (despite the invocation <strong>of</strong> human embodiment at one stage <strong>of</strong> his<br />
argument) the priority <strong>of</strong> the spectatorial stance.<br />
30 On mimesis as othering, see Michael Taussig, Mimesis and Alterity: A Particular<br />
History <strong>of</strong> the Senses (<strong>New</strong> <strong>York</strong> and London: Routledge, 1993). And on the<br />
otherness <strong>of</strong> oneself, see Heidegger, Being and Time, Division One, chapter 4.<br />
31 Cf. the analyses <strong>of</strong> abstraction and empathy as the two poles <strong>of</strong> artistic volition in<br />
Wilhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology<br />
<strong>of</strong> Style, trans. Michael Bullock (Chicago: Ivan R. Dee, 1997).<br />
32 I have begun to make a case for the greater mimesis <strong>of</strong> Renaissance paintings,<br />
paying specific attention to the case <strong>of</strong> dorsal figures, in "Beholding and its<br />
Displacements in Renaissance Painting," in Place and Displacement in the<br />
Renaissance: Essaysfrom the 25th Annual CEMERS Conference, ed. Al Vos<br />
(Binghamton, NY: Medieval and Renaissance Texts & Studies, 1995), pp.223-<br />
254.<br />
33 In Discipline and Punish, Foucault maps an epochal shift in the history <strong>of</strong> social<br />
vol. 17, no. 1 119