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In the 1970s, Kelly's transgressive projects helped to instigate conceptual art's second phase; her daring critiques of the female body as a fetishized, allegorized, commodified site were debated long after they were first seen in galleries and discussed in catalogues, and long before the debut of the "bad girls" in the 1990s. In fact, the debates currently surrounding Kelly's work are a necessary and defining element of theoretical discourse about art today.
This book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s.
Drawing inspiration from science, scripture, poetry, and relationships, this book explores the meaning of life after death in a variety of traditions.
This volume explores the many facets and ongoing transformations of our visual identities in the twentieth and twenty-first centuries. Its chapters engage with the constitution of personal, national and cultural identities at the intersection of the verbal and the visual across a range of media. They are attentive to how the medialities and (im)materialities of modern image culture inflect our conceptions of identity, examining the cultural and political force of literature, films, online video messages, rap songs, selfies, digital algorithms, social media, computer-generated images, photojournalism and branding, among others. They also reflect on the image theories that emerged in the same time span—from early theorists such as Charles S. Peirce to twentieth-century models like those proposed by Roland Barthes and Jacques Derrida as well as more recent theories by Jacques Rancière, W. J. T. Mitchell and others. The contributors of Imaging Identity come from a wide range of disciplines including literary studies, media studies, art history, tourism studies and semiotics. The book will appeal to an interdisciplinary readership interested in contemporary visual culture and image theory.
This book offers a new methodology for examining the ethico-political dimensions of religion and film which foregrounds film's social power both to shape subjectivity and to image contemporary social contradictions and analyses three specific films: Kurosawa's Dersu Uzala ; Kiarostami's Taste of Cherry ; and the Coens' The Man Who Wasn't There .
Images can be studied in many ways--as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive--they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents--human and non-human, material, geographic, and spiritual--become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.
Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.
Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum
Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.
Ever wonder about the meaning of life? Why we're here? What the Universe is all about? The force that expressed itself through Jesus, Buddha, Krishna, Mohammed, Edgar Cayce and other great avatars who served as channels for what is commonly referred to as God communicates again today as the world begins to enter a period of Spiritual Ascension with a new consciousness and awareness. This force, which refers to itself as Cosmic Awareness, has dictated this book as a set of 144 carefully structured lessons that took over 10 years to create. They are designed to lead you, step by step, from where you are to where you want to be. This amazing information begins with Cosmic Awareness explaining what It is, how the Universe was created, and leads you through birth, childhood, adulthood, magic, sex, death and far beyond into other dimensions - explaining all of the mysterious "Secrets of the Universe" that everyone is looking for the absolute answer of "Who, In Fact, You Really Are."