A Concise Companion to Visual Culture

1 Cover

2 Title Page A Concise Companion to Visual Culture Edited by A. Joan Saab Aubrey Anable Catherine Zuromskis

3 Copyright Page

4 Acknowledgments

5 Notes on Contributors

6 Introduction References

7 PART I: Scenes from the Institutionalization of the Field Chapter 1: Practices of Visual Culture Pedagogy References Chapter 2: Horizontal Thinking and the Emergence of Visual Culture New Horizons Lawrence Alloway and the Long Front of Culture: From the Hierarchical Pyramid to the Horizontal Line Leo Steinberg and the Emergence of the Flatbed Picture Plane Rosalind Krauss’s Trajectory and the Hatred of Visual Culture References Archival Sources Notes Chapter 3: An Interview References Chapter 4: A Conversation References Chapter 5: A Dialogue References Chapter 6: Scene Selection: Objects Lost and Found References

8 PART II: Key Concepts A: Histories Chapter 7: The Archive References Further Readings Chapter 8: Observance Introduction: A Minute’s Silence Observing, Caring, Following, Obeying The Shoah, Memory, and Memorialization To Destroy The Evidence The Memory Industry: Dark Tourism, Shoah Selfies, and Genealogy Websites Conclusion: Resilience References Note Chapter 9: Temporality 80,000 Hours TV Guide and the Televisual Present Emergence and Genealogy in the Narrative Presents of Community and The Cosby Show The Present Tense of Television Acknowledgments References Chapter 10: Ephemerality Restricted Imagery The Ephemeral Gesture and “Live” Photography Visibility, Automation, and Autonomy Becoming an Image Encoding Bias in Machine Learning References Notes B: Ecologies Chapter 11: Environment American Real Estate History Seeing Real Estate Real Estate in American Visual Culture References Further Reading Chapter 12: Architectures The Materiality of the Arts and Crafts Resource Barons Teak The Work of Extraction Lively Capital Consolidation of a Global Trade Global Entanglements Material Affects References Note Chapter 13: Sites Object‐Centered Agencies: What Do the Inuksuit Want? The Genesis of the Toronto Airport Inuksuit From Sanctioned Theft to Authentic Replicas Installation, Reception, and Impact Objects and Agency: Speaking Through Archives, Oral Testimony, and Social Media References Further Reading Note Chapter 14: Vernaculars Introduction: New Networked Genres Always‐On Computing and the Always‐On Image What the Internet Is “For”: Too Much from the Bomb to Supercuts Managing Connection by Other Means: Selfies and Animated GIFs References C: Mediation Chapter 15: The Document 1 2 3 Acknowledgments References Notes Chapter 16: Form Acknowledgments References Chapter 17: Play Playing, Seeing, Doing The Lens of Playfulness The Ideology of Play References Further Reading Chapter 18: Memes Before “LOLcats” Performative Representation Memes Cohere and Spread through Illocutionary Force A Meme’s Existence Results in Allegorical Operations of Doubling Things out of Information, Information out of Things The United Fruit Company, the US Government, and the New Left Acknowledgments References D: Agencies Chapter 19: Subjects To Capture To Act and Enact To Look To Be Caught To Cover To Belong To Hold References Chapter 20: Making Making Introductions Making as Activity and Action Making as Material Transformation Making as Conceptual Transformation Making as Causing Effect Making Identity Making Distinctions Making Do Making as Authorship Making Politics Making Visual Culture Acknowledgments References Notes Chapter 21: Institutions Exhibiting Power: Display Culture, Museums, and Diplomacy The Arrival of a New Member in the Community Masterpieces of the World’s Great Museums Institutional Maneuvers: The NGC and External Affairs Masterpieces of European Painting Dark Matter References Archival Sources Notes Chapter 22: Species Slime Mold: Agencies of Meaning Making Artificial Intelligence: Agencies of Imagining Microbes/Ghosts: Agencies of Vision and Knowledge Dependency, Contamination, Failure (or a Species Account of Agency) References E: Politics Chapter 23: The Social References Chapter 24: Identities Two Operations: Post‐Black and Liquid Blackness Bureaucratized Liberal Tolerance and Its Discontents Charles Taylor and the Politics of Recognition Conclusion: Escaping “Diversity” References Note Chapter 25: Representation References Further Reading Chapter 26: Feelings The Political Isn’t the Personal Aesthetics without Feelings The Political in the Personal References Further Reading Chapter 27: Action Water Is Life Liberating Institutions Blockadia The Great Transition References Further Reading Notes

9 Index

10 End User License Agreement

1 Chapter 2 Figure 2.1 Sam Lambert, Installation of the exhibition This Is Tomorrow , Whi... Figure 2.2 Robert Rauschenberg, Small Rebus . Oil, graphite, paint swatches, ... Figure 2.3 Robert Rauschenberg, Bed . Oil and pencil on pillow, quilt, and sh... Figure 2.4 Rosalind Krauss, As a Horizontal Field, Like a Desktop . Video sti...

2 Chapter 5 Figure 5.1 Matchbook. The Tool Box, c. 1963. Figure 5.2 Rudy Lemcke, Glinda, 1988, acrylic on canvas, 36 × 30 in.

3 Chapter 7 Figure 7.1 Man Ray, Dust Breeding ( Duchamp’s Large Glass with Dust Motes ... Figure 7.2 Maurice Jarnoux, photograph of André Malraux with the photographi... Figure 7.3 Susan Hiller, From the Freud Museum . 1993. Figure 7.4 Susan Hiller, Witness , 2000.

4 Chapter 9Figure 9.1 Listings from TV Guide 1975, November 2, p. A31.Figure 9.2 Grid from TV Guide 1986, March 27, pp. A118–A119.Figure 9.3 “Vital Statistics” in the listings from TV Guide 1986, March 27, p...

5 Chapter 10Figure 10.1 Cassils, Becoming an Image , Performance Still No. 3 (Pennsylvani...Figure 10.2 Cassils, Becoming an Image , Performance Still No. 4 (National Th...

6 Chapter 11Figure 11.1 “Can’t Ye Just See It?” Judge , January 16, 1926.Figure 11.2 Alfred Hoffy, after William Strickland, Prospective View of the ...Figure 11.3 James Henry Beard, The Ohio Land Speculator , 1840. Purchased wit...

7 Chapter 12Figure 12.1 Blacker House, c. 1915. Photo Leroy Hulbert.Figure 12.2 Teak‐lined entry hall, Blacker House.Figure 12.3 Girdling teak, c. 1920.Figure 12.4 “Elephant laborers piling timber in one of the great riverside y...Figure 12.5 Foucar Bros. Sawmill in Rangoon, from Timber and Plywood , vol. 2...

8 Chapter 13Figure 13.1 Kiakshuk, Three Inukshuks , 1962. Stone. Pearson International Ai...Figure 13.2 Kiakshuk, Stone Images Mark the Western Route , 1960. Stencil pri...Figure 13.3 Photo of Toronto Airport inuksuit after construction in Cape Dor...Figure 13.4 Taro Okamoto, Tower of the Sun , 1970. Osaka.

9 Chapter 15Figure 15.1 Tim Hetherington. Eye Clinic in Bo, Sierra Leone.Figure 15.2 Tim Hetherington, Sergeant Aaron Hijar Sleeping.

10 Chapter 16Figure 16.1 A coordinate grid from Killer of Sheep (directed by Charles Burn...Figure 16.2 Movement and flow from Killer of Sheep (directed by Charles Burn...Figure 16.3 Counting from Killer of Sheep (directed by Charles Burnett, 1977...

11 Chapter 17Figure 17.1 Player Eyes, Spider, and Corridors.Figure 17.2 Runner’s Vision, Highlighted Suggested Route and Objects.

12 Chapter 18Figure 18.1 LOLcats Memes.Figure 18.2 Advertisements appearing in the Berkeley Barb . Clockwise, from t...Figure 18.3 “Sun bananas: ‘Wholesome and then‐some!’” Ann Arbor Sun , April 1...

13 Chapter 19Figure 19.1 Jesse and Arnold Friedman in Friedman home movie. Included in An...Figure 19.2 Photograph taken in 1987 at the district court in Mineola, New Y...Figure 19.3 Former student in Arnold and Jesse Friedman’s computer class. St...Figure 19.4 The Friedman family in the early 1970s: from left, Jesse, in fro...