Editing the Image: Strategies in the Production and Reception of the Visual

269 Pages·2008·1.2 MB·English

by  Mark Cheetham

Editing the Image: Strategies in the
Production and Reception of the Visual
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Editing the Image:
Strategies in the
Production and Reception
of the Visual
Including papers given at the
Thirty-Ninth Annual Conference
on Editorial Problems
University of Toronto,
7–8 November 2003
Edited by Mark A. Cheetham,
Elizabeth Legge, and Catherine M. Soussloff
UNIVERSITY OF TORONTO PRESS
Toronto Buffalo London
© University of Toronto Press Incorporated 2008
Toronto Buffalo London
www.utppublishing.com
Printed in Canada
ISBN978-0-8020-9248-9
Printed on acid-free paper
Library and Archives Canada Cataloguing in Publication
Conference on Editorial Problems (39th : 2003 :
University of Toronto)
Editing the Image: strategies in the production and reception
of the visual : papers given at the thirty-ninth annual
Conference on Editorial Problems, University of Toronto
7–8 November 2003 / edited by Mark A. Cheetham,
Elizabeth Legge and Catherine M. Soussloff
Includes index.
ISBN978-0-8020-9248-9
1. Editing – Congresses. 2. Art – Congresses. I. Cheetham,
Mark A. (Mark Arthur), 1954– II. Legge, Elizabeth, 1952– .
III. Soussloff, Catherine M. iv. Title.
N82.C66 2003 700 C2008-900996-7
University of Toronto Press acknowledges the financial assistance to its
publishing program of the Canada Council for the Arts and the Ontario
Arts Council.
University of Toronto Press acknowledges the financial support for its
publishing activities of the Government of Canada through the Book
Publishing Industry Development Program (bpidp).
In memory of our colleague
Amilcare Ianucci
‘... tal era io a quella vista nova:
veder voleva come si convenne
l’imago al cerchio e come vi s’indova’
– Dante, Paradiso,xxxiii136–8
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Contents
Notes on Contributors ix
Acknowledgments xiii
List of Illustrations xv
Introduction
mark a. cheetham, elizabeth legge, catherine m. soussloff
xix
editing identity
1 Mr Blank Gets Concretized
john greyson 3
2 Striking Through the Artist’s Body: Ekphrasis in Bellori’s
Life of Caravaggio
todd p. olson 15
editing the body of history
3 An Edited Past: Aegean Prehistory and Its Texts
sturt w. manning 33
4 The Trouble with Painting, the Image (less) Text
catherine m. soussloff 67
spectactular editing
5 Concealing Spectacles: Childbirth and Visuality in Early Modern
France
lianne mctavish 95
viii / Contents
6 Edit In ... Edit Out: A Performance/Intervention
lisa steele and kim tomczak 115
aura and edit
7 Editing Armageddon
john o’brian 127
8 Editing the Image: Two On-site/Online Exhibitions
reesa greenberg 153
institutions of art and editorial practices
9 The Art Museum as Installation: An Interpretation of the Place
of Matisse’s The Joy of Life in the Barnes Foundation
david carrier 167
10 Editing In vs. Editing Out: World Art Studies and the
Pathologies of Academe
john onians 183
conclusions
11 ‘Editorial’ Afterthoughts
linda hutcheon 199
Envoi
What Remains: The Nachleben of the Invisible
fred r. unwalla 207
Index 233
Notes on Contributors
david carrier is the Champney Family Professor at Case Western
Reserve University and the Cleveland Institute of Art. He has been
Lecturer in the Council of the Humanities and Class of 1932 Fellow in
Philosophy at Princeton University, and in 1999–2000, was a Getty
Scholar. He has been a visitor in the Department of Art History (Univer-
sity of Auckland, New Zealand) and a visiting lecturer at the National
Academy of Art (Hangzhou, China).
David Carrier’s books include Artwriting (Amherst, 1987);Principles
of Art History Writing (University Park and London, 1991); Poussin’s
Paintings: A Study in Art-Historical Methodology (University Park and
London, 1993); The Aesthete in the City: The Philosophy and Practice of
American Abstract Painting in the 1980s (University Park and London,
1994);Nicolas Poussin. Lettere sull’arte (Hestia edizione, 1995);High Art.
Charles Baudelaire and the Origins of Modernism (University Park and
London, 1996); England and Its Aesthetes: Biography and Taste (Gordon and
Breach, 1997); Garner Tullis. The Life of Collaboration (New York, 1998);
The Aesthetics of the Comic Strip (University Park and London, 2000);
Rosalind Krauss and American Philosophical Art Criticism: From Formalism
to beyond Postmodernism (Greenwood/Praeger, 2002); The Art of Art-
writing (Allworth Press, 2002);Sean Scully (Thames and Hudson, 2003);
andMuseum Skepticism (Duke University Press, 2006). His latest book is
A World Art History and Its Objects, forthcoming.
mark a. cheetham is a Professor in the Department of Art at the
University of Toronto. His work ranges from single-authored books that
focus on the interactions of theoretical texts, the canon, and visual
expression (Remembering Postmodernism: Trends in Recent Canadian Art
[Oxford University Press, 1991];Kant, Art, and Art History: Moments of