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This is the first book of its kind to feature interdisciplinary art history and disability studies. Moving away from the medical model of disability that is often scrutinized in art history, the book considers the social model and representations of disabled figures. Topics addressed include visible versus invisible impairments; scientific, anthropological, and vernacular images of disability; and the implications of looking/staring versus gazing. Disability and Art History explores ways in which art responds to, envisions, and at times stereotypes and pathologizes disability, and aims to contextualize disability historically, as well as in terms of medicine, literature, and visual culture.
Black disabled and Deaf artists have always existed. They were on street corners down South singing the Blues, spray painting on New York subways, and bringing sign language to the big screen. Today, young Black disabled artists are finding their own way to the stage and studio, some with a paintbrush in their mouth, like Alana C. Tillman, and some with a drumstick in their hands, like Vita E. Cleveland. As a Black disabled youth in the 1970's and 1980's, I wished that there was a book like the one you are holding now. No more wishing - the book is here!
This book presents interdisciplinary scholarship on art and visual culture that explores disability in terms of lived experience. It will expand critical disability studies scholarship on representation and embodiment, which is theoretically rich, but lacking in attention to art. It is organized in five thematic parts: methodologies of access, agency, and ethics in cultural institutions; the politics and ethics of collaboration; embodied representations of artists with disabilities in the visual and performing arts; negotiating the outsider art label; and first-person reflections on disability and artmaking. This volume will be of interest to scholars who study disability studies, art history, art education, gender studies, museum studies, and visual culture.
This volume analyzes representations of disability in art from antiquity to the twenty-first century, incorporating disability studies scholarship and art historical research and methodology. This book brings these two strands together to provide a comprehensive overview of the intersections between these two disciplines. Divided into four parts: Ancient History through the 17th Century: Gods, Dwarfs, and Warriors 17th-Century Spain to the American Civil War: Misfits, Wounded Bodies, and Medical Specimens Modernism, Metaphor and Corporeality Contemporary Art: Crips, Care, and Portraiture and comprised of 16 chapters focusing on Greek sculpture, ancient Chinese art, Early Italian Renaissance art, the Spanish Golden Age, nineteenth century art in France (Manet, Toulouse-Lautrec) and the US, and contemporary works, it contextualizes understandings of disability historically, as well as in terms of medicine, literature, and visual culture. This book is required reading for scholars and students of disability studies, art history, sociology, medical humanities and media arts.
"The Routledge Companion to Art and Disability explores disability in visual culture to uncover the ways in which bodily and cognitive differences are articulated physically and theoretically, and to demonstrate the ways in which disability is culturally constructed. This companion is organized thematically and includes artists from across historical periods and cultures in order to demonstrate the ways in which disability is historically and culturally contingent. The book engages with questions such as how are people with disabilities represented in art; how are notions of disability articulated in relation to ideas of normality, hybridity, and anomaly; and how do artists use visual culture to affirm or subvert notions of the normative body. Contributors consider the changing role of disability in visual culture, the place of representations in society, and the ways in which disability studies engages with and critiques intersectional notions of gender, race, ethnicity, class, and sexuality. This book will be particularly useful for scholars in art history, disability studies, visual culture, and museum studies"--
This is the first book of its kind to feature interdisciplinary art history and disability studies scholarship. Art historians have traditionally written about images of figures with impairments and artworks by disabled artists, without integrating disability studies scholarship, while many disability studies scholars discuss works of art, but do not necessarily incorporate art historical research and methodology. The chapters in this volume emphasize a shift away from the medical model of disability that is often scrutinized in art history by considering the social model and representations of disabled figures from a range of styles and periods, mostly from the twentieth century. Topics addressed include visible versus invisible impairments; scientific, anthropological, and vernacular images of disability; and the theories and implications of looking/staring versus gazing. They also explore ways in which art responds to, envisions, and at times stereotypes and pathologizes disability. The insights offered in this book contextualize understanding of disability historically, as well as in terms of medicine, literature, and visual culture.
Explores the rich but hidden role that disability plays in modern art and in aesthetic judgments
Wexler argues that the arts are most effective when they are in service of social growth, critical to identity formation. This book balances theory with practical knowledge and offers critical research that challenges the biases regarding the nature of art and education.
The first book to attempt to provide a framework for analyzing disability through the ages, Henri-Jacques Stiker's now classic A History of Disability traces the history of western cultural responses to disability, from ancient times to the present. The sweep of the volume is broad; from a rereading and reinterpretation of the Oedipus myth to legislation regarding disability, Stiker proposes an analytical history that demonstrates how societies reveal themselves through their attitudes towards disability in unexpected ways. Through this history, Stiker examines a fundamental issue in contemporary Western discourse on disability: the cultural assumption that equality/sameness/similarity is always desired by those in society. He highlights the consequences of such a mindset, illustrating the intolerance of diversity and individualism that arises from placing such importance on equality. Working against this thinking, Stiker argues that difference is not only acceptable, but that it is desirable, and necessary. This new edition of the classic volume features a new foreword by David T. Mitchell and Sharon L. Snyder that assesses the impact of Stiker’s history on Disability Studies and beyond, twenty years after the book’s translation into English. The book will be of interest to scholars of disability, historians, social scientists, cultural anthropologists, and those who are intrigued by the role that culture plays in the development of language and thought surrounding people with disabilities.