The ‘Face of War’ In Weimar Visual Culture

2018 ◽  
pp. 57-78
Author(s):  
Annelie Ramsbrock
Keyword(s):  
Visual Culture ◽  
The Face

A Glut Of Faces

Public ◽  
2020 ◽  
Vol 30 (60) ◽  
pp. 142-155
Author(s):  
Kristina Fiedrich
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Social Order ◽  
Facial Recognition ◽  
Art Practices ◽  
Visual Expression ◽  
The Face ◽  
The Subject ◽  
Singular Representation ◽  
Increasing Trends

The face is a bodily surface that visually, historically and politically locates identity. Under the scrutiny of facial recognition and biometric software, the face can take the place of a whole identity, becoming a rigid singular representation. This paper draws connections between the increasing trends in surveillance and biometric technologies, and their manifestation within contemporary art practices. Specifically, I look to artworks that engage traditional portraiture and representations of the face, all the while manipulating expectations of the face-as-portrait. Artworks included in this project are Ursula Johnson’s L’nuweltik (We are Indian), Gillian Wearing’s Self Portrait at Twenty Seven Years Old and Anthony Cerniello’s Danielle. How has the face come to be represented in contemporary portraiture, and might these representations suggest a shifting logic of identity, away from the face? Art as visual expression is considered in relation to surveillance as another outcome of visual culture that highlights a continuing desire to categorize the subject within a social order.

scholarly journals Fashion designers home interiors: extending their brand image and aesthetic through magazine features

2021 ◽  
Author(s):  
Lauren Petroff
Keyword(s):  
Visual Culture ◽  
Visual Rhetoric ◽  
Brand Image ◽  
Qualitative Interviews ◽  
Brand Identity ◽  
Cognitive Representation ◽  
Presentation Of Self ◽  
Meaningful Information ◽  
The Face ◽  
Fashion Designers

Fashion designers, serving as the face and namesake of their brands, periodically present their homes in magazines. This exploratory study investigates whether this provides a unique opportunity to assist consumers in forming associations with the existing brand. An interdisciplinary literature review provided a thematic foundation, examining: 1) the presentation of self and how this concept can be symbolized through objects in the home; 2) visual culture and visual rhetoric; 3) and the concepts of brand identity, brand image, the “associative network memory model,” and flagship-store image. Content analysis of six in-depth, qualitative interviews was employed to collect relevant and meaningful information. Study informants examined and discussed images of the homes, flagship stores and current runway collections of Ralph Lauren, Tory Burch and Alexander Wang. Findings suggest that viewers are able to attribute associated lifestyles to the home, store or clothing being observed. When the perceived home image was congruent with the viewer-held brand conception, it seemed to reinforce the image. If the perceived home image contrasted with the viewer-held brand conception, it seemed to weaken the image. Two major recommendations were presented: 1) ensure that the home is a clear visual and cognitive representation of the designer’s intended brand identity; 2) establish a clear visual link between homes and brand offerings.

Impressions of the Covered Body

2021 ◽  
pp. 14-33
Author(s):  
Ron J. Popenhagen
Keyword(s):  
Visual Culture ◽  
Fin De Siecle ◽  
Human Form ◽  
Fin De Siècle ◽  
The Face ◽  
History Of ◽  
Stylistic Changes

This chapter draws parallels between the development of photography as visual culture and images of concealing the face and body. The first section, ‘Veiled Exposures’, notes examples of the costumed and draped human form in late Romanticism through Realism, verismo and Symbolism. A history of Pierrot performances and photo portraits in Paris, Brussels and Marseille maps the stylistic changes that move the white-faced role from the classical to the sentimental and finally to the phantom grotesque. Citing the work of composers, illustrators, photographers and writers, associations with death and masking are introduced. ‘Skulls and Draped Bodies’, the final sub-section, comments upon the anxieties present in fin-de-siėcle images, including the shroud-fabric paintings of Ferdinand Hodler and the skulls in Odilon Redon’s prints and drawings. The chapter also chronicles the importance of professional portrait photography in Paris.

SEEING IS BELIEVING: THE POWER OF VISUAL CULTURE IN THE RELIGIOUS WORLD OF AŞE ZÄR'A YA'EQOB OF ETHIOPIA (1434-1468)

2002 ◽  
Vol 32 (4) ◽  
pp. 403-421 ◽  
Author(s):  
Steven Kaplan
Keyword(s):  
Visual Culture ◽  
Political Power ◽  
Visual Representation ◽  
Religious Life ◽  
Daily Basis ◽  
Virgin Mary ◽  
Divine Power ◽  
The Face ◽  
The Cross

AbstractThe prevailing image of Zär'a Ya'eqob has tended to emphasize the intellectual at the expense of the experiential and political power at the expense of religious power. It is to these relatively neglected aspects of religious life that this article is devoted. It is our purpose here to emphasize the importance of the Cross, the image of the Virgin, the construction of churches and other visual aspects of religious life in Zär'a Ya'eqob's Ethiopia. No other Ethiopian ruler confronted the religious challenges presented by a divided Church and a largely unChristianized empire as systematically and as successfully as Zär'a Ya'eqob. Moreover, he was as sensitive to the daily unspoken truths of religious life as he was to great theological debates and controversies. He understood power in all its manifestations and sought to protect his state, his church, and his people with every means at his disposal. By promoting devotion to both the Cross and the Virgin Mary, he built on the foundations prepared by his parents, especially his father Dawit. He also mobilized Christian symbols which transcended local rivalries and regional loyalties. These symbols, as well as the churches he built, were also particularly suited to visual representation and hence comparatively easy to propagate among Ethiopia's largely illiterate population. They were, moreover, effective instruments of divine power, which brought home not only the message of Christianity's truth, but also its efficacy in the face of the numerous threats that Christians faced on a daily basis.

Visual Culture and Slavery

2019 ◽  
pp. 56-90
Author(s):  
Carmen Fracchia
Keyword(s):  
Eighteenth Century ◽  
Visual Culture ◽  
Council Of Trent ◽  
Human Diversity ◽  
Legal Case ◽  
The Face ◽  
Art Production ◽  
Visual Discourses

I discuss the semiotic control imposed on the production of religious depictions after the Council of Trent (1563), achieved by the decree on sacred images and the monitoring of art production by a censor appointed by the Inquisition. I map out the visual discourses that offer representations of blackness, slavery and human diversity and I concentrate on ‘Black Sainthood’ promoted in black confraternities: Baltasar in the Adoration of the Magi, Benedict of Palermo from Sicily, Iphigenia, and Elesbaan from Ethiopia. I reveal the prohibition to members of the oldest black confraternity of participation in public processions and I provide the legal case against them. I consider the eighteenth-century legend of the miraculous blackening of the face of the sculpture of St Francis of Paula in La Habana, in Cuba, as a sign of support to the black brothers after the institution had been taken over by the white nobility.

Dialogues

2019 ◽  
Vol 1 (3) ◽  
pp. 60-71
Author(s):  
Ananda Cohen-Aponte ◽  
Elena Fitzpatrick Sifford
Keyword(s):  
Graduate Students ◽  
Visual Culture ◽  
Latin American ◽  
Art History ◽  
The United States ◽  
Tenure Track ◽  
Historical Discourse ◽  
Diversity And Inclusion ◽  
Demographic Survey ◽  
The Face

The inauguration of Latin American and Latinx Visual Culture, the first art history journal of its kind, stands as a testament to the great strides made by the indefatigable work of both long-standing and emerging members of this scholarly community to promote the field and fight for its inclusion within mainstream art historical discourse. With unprecedented growth and expansion, however, comes the need for reflection. This Dialogue addresses the issue of diversity and inclusion within the profession. While most of us are well-versed in identifying systemic inequities in the field in the face of a Eurocentric art historical canon and the institutions that support it, we have found a corresponding reluctance to address issues of exclusion and inequity in the profession. This Dialogue consists of three components: an introductory essay by Ananda Cohen-Aponte and Elena FitzPatrick Sifford addressing issues around diversity and inclusion in the profession; the results and analysis of findings from a demographic survey conducted by Cohen-Aponte and FitzPatrick Sifford of all tenured and tenure-track professors of Latin American and Latinx art history as well as graduate students at the ABD level in the United States; essays by invited scholars Beatriz E. Balanta, Kency Cornejo, Arlene Dávila, Emmanuel Ortega, Rose Salseda, and Lawrence Waldron that reflect on systemic inequities in the field and areas for growth. RESUMEN La inauguración de Latin American and Latinx Visual Culture, la primera revista de historia del arte de estas características, es uno de los resultados de los grandes avances que se han dado gracias al trabajo incansable de miembros antiguos y nuevos de esta comunidad académica para promover este campo y luchar por su inclusión en los debates centrales de la comunidad académica que se dedica al estudio de la historia del arte. Sin embargo, con un crecimiento y expansión sin precedentes, surge la necesidad de la reflexión. Este Diálogo trata el tema de la diversidad y la inclusión dentro de la profesión. Si bien la mayoría de nosotros tenemos mucha experiencia a la hora de identificar ​desigualdades sistémicas en el campo, frente a un canon eurocéntrico de la historia del arte y de las instituciones que lo apoyan, hemos observado renuencia a hablar de los problemas de exclusión e inequidad en la profesión. Este Diálogo consta de tres componentes: un ensayo introductorio de Ananda Cohen-Aponte y Elena FitzPatrick Sifford, que aborda temas relacionados con la diversidad y la inclusión en la profesión; los resultados y el análisis de los hallazgos de una encuesta demográfica realizada por Cohen-Aponte y FitzPatrick Sifford a profesores de planta en el campo de la historia del arte latinoamericano y latinx y a estudiantes de posgrado en los Estados Unidos de nivel ABD, es decir, que están en la última fase de la redacción de sus tesis; ensayos de los académicos invitados Beatriz Balanta, Kency Cornejo, Arlene Dávila, Emmanuel Ortega, Rose Salseda y Lawrence Waldron que reflexionan sobre las desigualdades sistémicas en el campo y oportunidades de crecimiento. RESUMO A inauguração da Revista de Cultura Visual Latino-americana e Latina, a primeira revista de história da arte do seu gênero, é um testemunho dos grandes avanços feitos pelo incansável trabalho de membros antigos e emergentes dessa comunidade acadêmica para promover o campo e lutar por sua inclusão no discurso mainstream da história da arte. Com esse crescimento e expansão sem precedentes, no entanto, surge a necessidade de reflexão. Este Diálogo aborda a questão da diversidade e inclusão dentro da profissão. Enquanto a maioria de nós é bem versada em identificar desigualdades sistêmicas no campo em face de um cânone histórico-artístico eurocêntrico e das instituições que o apoiam, encontramos uma relutância correspondente em abordar questões de exclusão e desigualdade na profissão. Este Diálogo consiste em três componentes: um ensaio introdutório de Ananda Cohen-Aponte e Elena FitzPatrick Sifford endereçando questões sobre diversidade e inclusão na profissão; os resultados e análise dos resultados de uma pesquisa demográfica conduzida por Cohen-Aponte e FitzPatrick Sifford de todos os professores titulares e com titularização condicional de história da arte latino-americana ou latina, bem como alunos de pós-graduação no nível ABD nos Estados Unidos; ensaios por acadêmicos convidados Beatriz Balanta, Kency Cornejo, Arlene Dávila, Emmanuel Ortega, Rose Salseda e Lawrence Waldron, que refletem sobre desigualdades sistêmicas no campo e áreas para crescimento.

Ubiquitous Self

2020 ◽  
pp. 93-115
Author(s):  
Giorgio Cipolletta
Keyword(s):  
Social Media ◽  
Social Interaction ◽  
Visual Culture ◽  
21St Century ◽  
Possible Worlds ◽  
Complex Form ◽  
Face Mask ◽  
The Body ◽  
The Self ◽  
The Face

In 2013, the Oxford Dictionaries announced “selfie” as the word of the year. The dictionary defined it as “a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and uploaded to a social media website.” Selfies are also a complex form of social interaction, an emerging aesthetics, thus having an irrevocable impact on self-portraiture. All visual culture revolves around the body and the body par excellence is the face. The 21st century portrait represents a kind of black mirror where we project ourselves into a kind of blindness. Mask and face are confused by an omnipresent multividuality in which the shield reveals itself and reveals other possible worlds. The face-mask melts in between Real and Virtual and the self becomes augmented.

scholarly journals Fashion designers home interiors: extending their brand image and aesthetic through magazine features

2021 ◽  
Author(s):  
Lauren Petroff
Keyword(s):  
Visual Culture ◽  
Visual Rhetoric ◽  
Brand Image ◽  
Qualitative Interviews ◽  
Brand Identity ◽  
Cognitive Representation ◽  
Presentation Of Self ◽  
Meaningful Information ◽  
The Face ◽  
Fashion Designers

Fashion designers, serving as the face and namesake of their brands, periodically present their homes in magazines. This exploratory study investigates whether this provides a unique opportunity to assist consumers in forming associations with the existing brand. An interdisciplinary literature review provided a thematic foundation, examining: 1) the presentation of self and how this concept can be symbolized through objects in the home; 2) visual culture and visual rhetoric; 3) and the concepts of brand identity, brand image, the “associative network memory model,” and flagship-store image. Content analysis of six in-depth, qualitative interviews was employed to collect relevant and meaningful information. Study informants examined and discussed images of the homes, flagship stores and current runway collections of Ralph Lauren, Tory Burch and Alexander Wang. Findings suggest that viewers are able to attribute associated lifestyles to the home, store or clothing being observed. When the perceived home image was congruent with the viewer-held brand conception, it seemed to reinforce the image. If the perceived home image contrasted with the viewer-held brand conception, it seemed to weaken the image. Two major recommendations were presented: 1) ensure that the home is a clear visual and cognitive representation of the designer’s intended brand identity; 2) establish a clear visual link between homes and brand offerings.

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