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Offering a major contribution to the field of American culture and aesthetics in an interdisciplinary frame, this collection assembles the cutting-edge research of renowned and emerging scholars in literature and the visual arts, with a foreword by Miles Orvell. The volume represents the first of its kind: an intervention in current interdisciplinary approaches to the intersections of the written word and the visual image that moves beyond standard theoretical approaches to consider the written and visual artwork in embodied, cognitive and experiential terms. Tracing a strong lineage of…mehr
Offering a major contribution to the field of American culture and aesthetics in an interdisciplinary frame, this collection assembles the cutting-edge research of renowned and emerging scholars in literature and the visual arts, with a foreword by Miles Orvell. The volume represents the first of its kind: an intervention in current interdisciplinary approaches to the intersections of the written word and the visual image that moves beyond standard theoretical approaches to consider the written and visual artwork in embodied, cognitive and experiential terms. Tracing a strong lineage of pragmatism, romanticism, surrealism and dada in American intermedial works through the nineteenth century to the present day, the editors and authors of this volume chart a new and vital methodology for the study and appreciation of the correspondences between visual and verbal practices.
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Catherine Gander is Lecturer in American Literature and Visual Culture at Queen's University Belfast Sarah Garland is Lecturer in American Literature and Visual Culture at the University of East Anglia
Inhaltsangabe
Foreword Miles Orvell Introduction: to fasten words again to visible and invisible things Catherine Gander and Sarah Garland 1. A poetics of organic expression: Louis Sullivan's transcendentalist legacy in word and image Lauren S. Weingarden 2. Photographic studies in the Hawthornes' American Note books Jessie Morgan Owens 3. Fragments of the future: Walker Evans's polaroids Caroline Blinder 4. Cartooning the marvelous: word and image in Chicago Surrealism Joanna Pawlik 5. 'Twenty six things at once': pragmatic perspectives on Frank O'Hara and Norman Bluhm's Poem Paintings Catherine Gander 6. 'Being kept in the dark can be a critical gesture': Arakawa and Madeline Gins's Mechanism of Meaning Sarah Garland 7. 'Then art will change. This is the future': Nancy Spero's manifestary practice Rachel Warriner 8. Forms of potential: reading Lawrence Weiner Katie L. Price 9. Testimony by hand: Ann Hamilton's myein Julie Brown 10. Reading with a knife, or the book art of subtraction: the altered books of Brian Dettmer and Doug Beube Katy Masuga 11. The idea, the machine and the art: word and image in the twenty first century. Envoi Catherine Gander and Sarah Garland Index
Foreword Miles Orvell Introduction: to fasten words again to visible and invisible things Catherine Gander and Sarah Garland 1. A poetics of organic expression: Louis Sullivan's transcendentalist legacy in word and image Lauren S. Weingarden 2. Photographic studies in the Hawthornes' American Note books Jessie Morgan Owens 3. Fragments of the future: Walker Evans's polaroids Caroline Blinder 4. Cartooning the marvelous: word and image in Chicago Surrealism Joanna Pawlik 5. 'Twenty six things at once': pragmatic perspectives on Frank O'Hara and Norman Bluhm's Poem Paintings Catherine Gander 6. 'Being kept in the dark can be a critical gesture': Arakawa and Madeline Gins's Mechanism of Meaning Sarah Garland 7. 'Then art will change. This is the future': Nancy Spero's manifestary practice Rachel Warriner 8. Forms of potential: reading Lawrence Weiner Katie L. Price 9. Testimony by hand: Ann Hamilton's myein Julie Brown 10. Reading with a knife, or the book art of subtraction: the altered books of Brian Dettmer and Doug Beube Katy Masuga 11. The idea, the machine and the art: word and image in the twenty first century. Envoi Catherine Gander and Sarah Garland Index
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