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22 object ought to represent a picture as much as a picture represents an object, or that pictures resemble other pictures more than their objects, yet they refer to their objects more than other pictures. Or, that there are pictures for which there are strictly no objects for them to resemble, such as pictures of unicorns. Yet for all this, if pictures denote in order to refer, they apparently do so without a notation. The following chapter therefore returns to the issue of resemblance versus reference, to see if something has not been overlooked or unexplored. Since Bell has performed this service for Gombrich, this study does as much for Goodman.
23 Depiction Revised The problem for a theory of depiction has been shown to be the reconciliation of illusion and notation. Neither is adequate, since illusion commits us to a perceptual mistake, or delusion, which does not square with the facts of everyday experience with pictures, while notation commits us to a familiar principle of reference, but cannot explain how such a notation might operate. It can explain in what ways it must differ from writing, or descriptive notation, but amounts to no more than saying it is no longer notation. On one hand the proposal is for a resemblance relation between picture and object, and on the other for a reference relation. Both agree that sooner or later they need the other, but in acquiring them they also lose some of their explanation. The illusion theory takes depiction to be tamed or conventionalised illusions, while the notation theory takes depiction to be a scheme that cultivates resemblance. But is an illusion still an illusion if it is rule bound? Is a notation still a notation if it resembles its object? Seemingly, stubbornly, the relations of resemblance and reference refuse to merge, resemblance is a symmetrical or two-way relation, reference is asymmetrical or a one-way relation. The task now is to look a little closer at Goodman’s theory of reference to see if there is a way around this. Goodman proceeds from arguments about the nature of reference, based upon denotation, but denotation is not the only mode or route of reference to his theory. He admits exemplification as the relation between a sample and referent, or the way in which it points to only some of its properties. 34 For example a swatch of cloth exemplifies colour, weave, texture and pattern of a certain type or bolt of cloth, but not its size or shape, age or smell. The swatch has these other properties, but they are not referred to, or exemplified. Equally the bolt of cloth has properties that are not possessed or sampled by the swatch, such as its 34 Goodman, 1976, pp.52-57.
Page 2 and 3: 2 Depiction and Painting A Theory a
Page 4 and 5: 4 Introduction The scope and method
Page 6 and 7: 6 To note particulars of presentati
Page 8 and 9: 8 7 Page 72 Interpretation The prob
Page 10 and 11: 10 initially in Art and Illusion, a
Page 12 and 13: 12 of any likeness or resemblance a
Page 14 and 15: 14 assumes elements of one scheme o
Page 16 and 17: 16 same time he rejects any simple
Page 18 and 19: 18 arrangements of only straight li
Page 20 and 21: 20 applied Goodman’s ideas of pic
Page 24 and 25: 24 place and manner of storage. Exe
Page 26 and 27: 26 appreciation of two-dimensional
Page 28 and 29: 28 Neither the primitive, pre-histo
Page 30 and 31: 30 surface is altered or marked in
Page 32 and 33: 32 may be detected and displayed ac
Page 34 and 35: 34 only the crudest of ‘environme
Page 36 and 37: 36 The fold-out picture may also be
Page 38 and 39: 38 the light. But since the chemica
Page 40 and 41: 40 its location within the categori
Page 42 and 43: 42 exophthalmia, will suffice. But
Page 44 and 45: 44 In explaining how a surface must
Page 46 and 47: 46 range and or realm. 67 Irony for
Page 48 and 49: 48 time or place. A source may be a
Page 50 and 51: 50 on the perceived expressiveness
Page 52 and 53: 52 of ways, and in fact must be fur
Page 54 and 55: 54 Gombrich, his theory sells styli
Page 56 and 57: 56 or with effective understanding,
Page 58 and 59: 58 the same reason that one directi
Page 60 and 61: 60 nineteenth century, revising in
Page 62 and 63: 62 variety of modes. Science too ha
Page 64 and 65: 64 Art History As noted, Gombrich
Page 66 and 67: 66 will suffice to point to the sym
Page 68 and 69: 68 wonders how much pressure can th
Page 70 and 71: 70 quite reach nothing, anymore tha
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72 Interpretation Attention to hist
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74 mind, as Claude Levi-Strauss fam
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76 A short defence is that the obje
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78 Also, plural right interpretatio
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80 and ‘realistic’ of photograp
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82 tonal contrasts for a given part
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84 hold for all periods, and while
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86 precedents and versions. Whether
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88 To return to the example of Poll
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90 But versatility also arises thro
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92 may find it the strictest and so
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94 But the argument is really about
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96 establishes a premise from which
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98 painting fail unless committed t
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100 scarcely the only, much less be
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102 Goliath, or Titian’s The Flay
Page 104 and 105:
104 Summary A review of the controv
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106 interpretations require a right
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108 and that revision of judgements
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110 15 Page 164 Post-Modernism Cont
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112 Modernism and Abstraction Discu
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114 patterns of emigration and so o
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116 in the sorts of objects and pic
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118 be shown, abstraction not only
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120 filling colours. Ordering is al
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122 words, steers abstraction, asse
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124 not exemplified only by the exc
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126 Modernism: 1912-1950 ‘Simulta
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128 pattern of the picture plane, t
Page 130 and 131:
130 Photographs and other forms of
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132 also breasts, like faces and ha
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134 confront a daunting spatial and
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136 Yet two-dimensionality lurks be
Page 138 and 139:
138 Late Modernism 1950 - 1960 ‘R
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140 between pictures and other elem
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142 reciprocally mapping grades aga
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144 Rauschenberg’s further contri
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146 essentially a short-tern strate
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148 The use of blank ground or unde
Page 150 and 151:
150 Post-Modernism and Pop Art Pain
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152 painting now starkly defines it
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154 print source. Either way, contr
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156 as does the work of Frenchman B
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158 prominence. 234 The passivity o
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160 insight, and occasionally these
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162 with and without sequence, by t
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164 Post-Modernism Continued Painti
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166 the thirteen most wanted men fr
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168 Chapel beneath, serves as a pro
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170 paintings the blurring becomes
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172 more into them’ than the phot
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174 As shown, where sample eliminat
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176 The End of Post-Modernism Neo-E
Page 178 and 179:
178 into a single, awkward hybrid o
Page 180 and 181:
180 acquires a certain half-hearted
Page 182 and 183:
182 an ironic revival, a pastiche o
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184 not treatment of these, than si
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186 (1913-80) the racial satires of
Page 188 and 189:
188 ‘fill’ here engage only the
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190 thick paint, give the work a st
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192 single colour or tone in order
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194 of number and relations) is to
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196 hardly novel. 289 Indeed it is
Page 198 and 199:
198 Looking to the materials of pig
Page 200 and 201:
200 and facture. 298 More forthrigh
Page 202 and 203:
202 Taaffe (b.1955) from this time
Page 204 and 205:
204 ‘Expanded Materials’ In Lat
Page 206 and 207:
206 Art in London around the middle
Page 208 and 209:
208 of Gift For Apollo (1959). 310
Page 210 and 211:
210 and performances on the one han
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212 situations, such as a sign indi
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214 But to begin with, the minimal
Page 216 and 217:
216 Indeed as dance and drama explo
Page 218 and 219:
218 increasing civic co-operation,
Page 220 and 221:
220 are regularly documented, photo
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222 ‘layout’, for example in th
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224 and diminutions taken here as L
Page 226 and 227:
226 somewhat the reverse. The work
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228 does not rest with mere casting
Page 230 and 231:
230 This convergence of projects al
Page 232 and 233:
232 is not enough to simply repeat
Page 234 and 235:
234 perhaps a Mondrian) to the curv
Page 236 and 237:
236 Therese Oulton (b. 1953) at thi
Page 238 and 239:
238 The use of stereotypical silhou
Page 240 and 241:
240 a broader ‘badness’ by this
Page 242 and 243:
242 Similar approaches are later ad
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244 writing presents peculiar diffi
Page 246 and 247:
246 Landscape here is traced back t
Page 248 and 249:
248 or aggressive to traditions or
Page 250 and 251:
250 needed or enough for a period;
Page 252 and 253:
252 differences to picture plane sc
Page 254 and 255:
254 Interestingly, labels for compe
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256 curatorial practice and collect
Page 258 and 259:
258 the brittle bodily disproportio
Page 260 and 261:
260 AMMAN, Jean-Christophe. ‘Der
Page 262 and 263:
262 BAXANDALL, Michael. Patterns Of
Page 264 and 265:
264 Pop Art: U.S./U.K. Connections,
Page 266 and 267:
266 CAWS, Mary Ann. The Eye in the
Page 268 and 269:
268 DAMISCH, Hubert, 'Five Notes fo
Page 270 and 271:
270 Art and the Aesthetic, Cornell
Page 272 and 273:
272 Why Are Pictures Puzzles? On Th
Page 274 and 275:
274 FREDERIC, Paul and SEWARD, Keit
Page 276 and 277:
276 ‘Selected Works by Jay De Feo
Page 278 and 279:
278 ------------------------- Probl
Page 280 and 281:
280 GRIFFITHS, Paul. Cage, The Oxfo
Page 282 and 283:
282 HOCKNEY, David. Pictures (selec
Page 284 and 285:
284 Shark infested waters: the Saat
Page 286 and 287:
286 LANE, Michael. Structuralism: A
Page 288 and 289:
288 LOVELACE, Carey. ‘Lisa Yuskav
Page 290 and 291:
290 Art and the Public Sphere, Univ
Page 292 and 293:
292 OLIVER, Cordelia, ‘The Second
Page 294 and 295:
294 Chuck Close, (catalogue) Hatje
Page 296 and 297:
296 Frank Stella, Penguin Books, Lo
Page 298 and 299:
298 --------------------------- Sal
Page 300 and 301:
300 -------------------------- Pict
Page 302 and 303:
302 TOMKINS, Calvin. The Bride and
Page 304 and 305:
304 WILSON, B. and WILSON, M. ‘An
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