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Journal articles on the topic 'Visual Culture Studies'

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Published: 4 June 2021
Last updated: 26 April 2022

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1

Walker, John A. "Visual Culture and Visual Culture Studies." Art Book 5, no. 1 (January 1998): 14–16. http://dx.doi.org/10.1111/1467-8357.00071.

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2

Smith, Ralph A. "Introduction: Visual Culture Studies." Arts Education Policy Review 105, no. 6 (July 2004): 3–4. http://dx.doi.org/10.3200/aepr.105.6.3-4.

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3

Grønstad, Asbjørn, and Øyvind Vågnes. "Now! Visual Culture: The International Association of Visual Culture Studies." Ekfrase 3, no. 02 (November 5, 2012): 112–31. http://dx.doi.org/10.18261/issn1891-5760-2012-02-05.

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4

Koontz, Rex. "VISUAL CULTURE STUDIES IN MESOAMERICA." Ancient Mesoamerica 20, no. 2 (2009): 217–20. http://dx.doi.org/10.1017/s0956536109990046.

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AbstractThis essay surveys recent trends in studies of Mesoamerican visual culture. Visual culture is defined here as more than an inclusive art history. I outline a tradition of approaches and methods in visual culture studies, arguing that this tradition pays particular attention to the reception and use of objects, as well as to their place in ancient economies. Several current trends in Mesoamerican studies, especially Postclassic period world-systems approaches and Classic period Maya courtly studies, have been particularly fecund strategies for visual culture studies. Other major trends in the field include studies of the symbolism of architecture and urban planning as well as performance studies. The insistence on economic contexts, the desire to capture indigenous visualities, and the need to situate the visual experience in larger cultural phenomena all bode well for future interdisciplinary work in visual cultural studies.
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5

Smith, Ralph A. "Introduction: Visual Culture Studies, Part Two." Arts Education Policy Review 106, no. 1 (September 2004): 3–4. http://dx.doi.org/10.3200/aepr.106.1.3-4.

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6

Bauerlein, Mark. "The Burdens of Visual Culture Studies." Arts Education Policy Review 106, no. 1 (September 2004): 5–12. http://dx.doi.org/10.3200/aepr.106.1.5-12.

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7

Smith, Peter J. "Visual Culture Studies versus Art Education." Arts Education Policy Review 104, no. 4 (March 2003): 3–8. http://dx.doi.org/10.1080/10632910309600049.

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8

Noble, Andrea. "Visual Culture and Latin American Studies." CR: The New Centennial Review 4, no. 2 (2004): 219–38. http://dx.doi.org/10.1353/ncr.2005.0010.

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9

MICHELIS, A. "Art Histories and Visual Culture Studies." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 218–37. http://dx.doi.org/10.1093/ywcct/7.1.218.

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10

MICHELIS, A. "Art Histories and Visual Culture Studies." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 139–54. http://dx.doi.org/10.1093/ywcct/8.1.139.

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11

HALSALL, FRANCIS. "What Does Visual Culture Studies Want?" Art Book 13, no. 4 (November 2006): 6–8. http://dx.doi.org/10.1111/j.1467-8357.2006.00718.x.

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12

Dikovitskaya, Margaret. "Visual culture studies: twenty years later." Visual Studies 36, no. 3 (May 27, 2021): 195–97. http://dx.doi.org/10.1080/1472586x.2021.1969814.

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13

Hockings, Paul. "The Visual Culture Reader." Visual Anthropology 26, no. 2 (March 2013): 187–89. http://dx.doi.org/10.1080/08949468.2013.754321.

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14

Board, Marilynn Lincoln, Fiona Carson, and Claire Pajaczkowska. "Feminist Visual Culture." Woman's Art Journal 24, no. 2 (2003): 39. http://dx.doi.org/10.2307/1358787.

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15

Bucar, Elizabeth M. "The Ethics of Visual Culture." Journal of Religious Ethics 44, no. 1 (February 18, 2016): 7–16. http://dx.doi.org/10.1111/jore.12129.

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16

Levine, Stephanie Wellen. "The Visual Culture of Chabad." Nova Religio 17, no. 1 (February 2013): 119–21. http://dx.doi.org/10.1525/nr.2013.17.1.119.

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17

MICHELIS, A. "12 Art Histories and Visual Culture Studies." Year's Work in Critical and Cultural Theory 9, no. 1 (January 1, 2002): 175–95. http://dx.doi.org/10.1093/ywcct/mbe012.

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18

Cvetkovich, Ann. "HISTORIES OF MASS CULTURE: FROM LITERARY TO VISUAL CULTURE." Victorian Literature and Culture 27, no. 2 (September 1999): 495–99. http://dx.doi.org/10.1017/s1060150399272129.

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VICTORIAN STUDIES has always been, for me, a form of cultural studies. As early as my sophomore year in college, while reading Raymond Williams’s Culture and Society for a modern humanities course, I was fascinated to learn that a case could be made for the nineteenth century as the period during which notions of culture were constructed. Williams’s work was presented without much contextualization and it was only much later that I came to associate it with either British cultural studies or Marxism. My somewhat unconscious interest in forging connections between culture and politics, which I would argue is the founding mission of cultural studies, was matched by another unconscious interest in Victorian studies, and more specifically, studies of the novel, as a field in which to pursue feminism. By the time I reached graduate school in the 1980s, feminism had become a field and a methodology, and within English departments, Victorian studies produced a rich range of scholars, including Elaine Showalter, Ellen Moers, Sandra Gilbert and Susan Gubar, and Nina Auerbach, who dominated the interdisciplinary field of women studies, which, like cultural studies, also sought to explain the relations between culture and politics. Their work on women authors and revising the canon was followed by that of an equally powerful group of feminist Victorianists, including Nancy Armstrong, Mary Poovey, Catherine Gallagher, and Eve Sedgwick, who explored not only how categories of gender and sexuality were integral to nineteenth-century social formations, but how they were invented in the modern period.
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19

Uehlinger, Christoph. "Approaches to Visual Culture and Religion." Method & Theory in the Study of Religion 27, no. 4-5 (October 29, 2015): 384–422. http://dx.doi.org/10.1163/15700682-12341362.

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Written from the point of view of a historian of religion\s, the article asks why the so-called “visual turn” has not left a major effect on the study of religion\s as an academic discipline and how things could be improved to that effect. It offers a synthetic account of earlier and contemporary involvements of scholars of religion and scholarly networks with images and visual culture, pointing to a general lack of sustained training and little exposure to relevant methodology and theory developed in relevant neighbouring disciplines. The author argues that the study of religion\s would benefit from increased attention to images and visual culture, emphasizing the potential of earlier (iconology in the Warburg-Panofsky tradition and the Groningen trajectory) as well as more recent approaches developed in Europe and theu.s., which theorize the visual in terms of visual culture, visual media, visual and scopic regimes, religious aesthetics and material religion.
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20

Mellor, Larissa. "Collaged Culture." Anthropological Journal of European Cultures 26, no. 2 (September 1, 2017): 79–89. http://dx.doi.org/10.3167/ajec.2017.260206.

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This article explores the relationship between my cultural inheritance and its impact on my work as a visual artist. Questions in the work related to language and geography are tied to my lived experience. These themes led me to explore the contemporary context of German clubs in the United States. I found the art process of collage – cutting and pasting to rearrange parts on a surface – to be an apt visual for the position of the German clubs today, arriving at the term ‘collaged culture’. Similarities between visual art and life reveal that both carry histories. By investigating the relationships between these, we can better perceive the current state of the work of art.
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21

Blair, S. "The Photograph's Last Word: Visual Culture Studies Now." American Literary History 22, no. 3 (August 11, 2010): 673–97. http://dx.doi.org/10.1093/alh/ajq041.

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22

Dubuisson, Daniel. "Visual Culture and Religious Studies: A New Paradigm." Method & Theory in the Study of Religion 27, no. 4-5 (October 29, 2015): 299–311. http://dx.doi.org/10.1163/15700682-12341352.

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23

Davis, W. "Queer Family Romance in Collecting Visual Culture." GLQ: A Journal of Lesbian and Gay Studies 17, no. 2-3 (January 1, 2011): 309–29. http://dx.doi.org/10.1215/10642684-1163418.

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24

Horvat, Ksenija Vidmar. "Migration, Gender and Visual Culture:." MedienJournal 37, no. 3 (March 20, 2017): 32–44. http://dx.doi.org/10.24989/medienjournal.v37i3.118.

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This paper investigates visual representations of migrants in Slovenia. The focus is on immigrant groups from China and Thailand and the construction of their ‘ethnic’ presence in postsocialist public culture. The aim of the paper is to provide a critical angle on the current field of cultural studies as well as on European migration studies. The author argues that both fields can find a shared interest in mutual theoretical and critical collaboration; but what the two traditions also need, is to reconceptualize the terrain of investigation of Europe which will be methodologically reorganized as a post- 1989 and post-westernocentric. Examination of migration in postsocialism may be an important step in drawing the new paradigm.
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25

Horvat, Ksenija Vidmar. "Migration, Gender and Visual Culture:." MedienJournal 37, no. 3 (March 20, 2017): 32. http://dx.doi.org/10.24989/mj.v37i3.118.

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This paper investigates visual representations of migrants in Slovenia. The focus is on immigrant groups from China and Thailand and the construction of their ‘ethnic’ presence in postsocialist public culture. The aim of the paper is to provide a critical angle on the current field of cultural studies as well as on European migration studies. The author argues that both fields can find a shared interest in mutual theoretical and critical collaboration; but what the two traditions also need, is to reconceptualize the terrain of investigation of Europe which will be methodologically reorganized as a post- 1989 and post-westernocentric. Examination of migration in postsocialism may be an important step in drawing the new paradigm.
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26

Izabella, Füzi, Matuska Ágnes, and Török Ervin. "Apertúra (Film – Visuality – Culture): Mapping the visual through a contemporary film studies and visual culture journal." Studies in Eastern European Cinema 11, no. 2 (May 3, 2020): 237–39. http://dx.doi.org/10.1080/2040350x.2020.1753351.

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27

Mirzoeff, N. "16 * Visual Culture." Year's Work in Critical and Cultural Theory 18, no. 1 (January 1, 2010): 327–37. http://dx.doi.org/10.1093/ywcct/mbq008.

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28

Mirzoeff, N. "13 * Visual Culture." Year's Work in Critical and Cultural Theory 19, no. 1 (January 1, 2011): 286–96. http://dx.doi.org/10.1093/ywcct/mbr013.

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29

Tubridy, D. "15 * Visual Culture." Year's Work in Critical and Cultural Theory 21, no. 1 (January 1, 2013): 291–307. http://dx.doi.org/10.1093/ywcct/mbt015.

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30

Oliver Johnson. "Alternative Histories of Soviet Visual Culture." Kritika: Explorations in Russian and Eurasian History 11, no. 3 (2010): 581–608. http://dx.doi.org/10.1353/kri.0.0166.

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31

Prosser, Jon. "Visual methods and the visual culture of schools." Visual Studies 22, no. 1 (April 2007): 13–30. http://dx.doi.org/10.1080/14725860601167143.

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32

Félix-Jäger, Steven. "Material Visions of the Good Life." Pneuma 41, no. 2 (August 30, 2019): 279–90. http://dx.doi.org/10.1163/15700747-04102002.

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Abstract Methods within visual culture studies can reveal the aesthetic stimuli that shape the way a religious group pictures or visualizes existence. Studying the visual culture of a religious movement allows one to see what formational mechanisms already exist and how the stimuli implicitly or explicitly support the movement’s theological commitments. This article suggests an approach for understanding Pentecostalism anew in its own distinct theological and sociological terms by categorizing the contours of the religious visual cultures of global Pentecostalism. This article argues that theologies of abundance are largely at play in the visual cultures of global Pentecostalism, and this can be demonstrated by identifying the visual stimuli that form religious experience and shape the way Pentecostals around the world imagine, understand, and project reality.
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33

Homer, William Innes. "Visual Culture: A New Paradigm." American Art 12, no. 1 (April 1998): 6–9. http://dx.doi.org/10.1086/424309.

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34

Cohen, Richard. "Where History and Visual Culture Intersect." IMAGES 1, no. 1 (2007): 3–5. http://dx.doi.org/10.1163/187180007782347674.

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AbstractThis contribution emphasizes, through two different problems, the benefit of interdisciplinary work in the field of Jewish history and visual culture. It raises various questions that such studies can provoke and suggests possible angles of research.
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35

Conner, Christopher T. "The handbook of visual culture." Visual Studies 28, no. 2 (June 2013): 198–99. http://dx.doi.org/10.1080/1472586x.2013.765245.

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36

Kirshenblatt-Gimblett, Barbara. "Towards a Post-Disciplinary Jewish Subject." IMAGES 1, no. 1 (2007): 12–14. http://dx.doi.org/10.1163/187180007782347692.

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AbstractBy inviting contributions dealing with any kind of visual material from any disciplinary perspective, Images opens up the possibility that art might be studied from any disciplinary perspective and that visual culture might be studied from an art historical point of view. Given the orphan status of Jewish art and visual culture as an object of study, how might the study of Jewish visual culture alter the fields brought to bear on it? Herein lays the opportunity to generate something new with respect both to Jewish visual culture and to visual studies more generally.
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37

Pavlova, Olena. "VISUAL STUDIES: SCIENTIFIC AND EDUCATIONAL PERSPECTIVES." Bulletin of Taras Shevchenko National University of Kyiv. Philosophy 2, no. 5 (2021): 47–54. http://dx.doi.org/10.17721/2523-4064.2021/5-5/8.

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The establishment of Visual Studies area is the result of reflection over the crisis experience not only logocentric one but also over linguistic turns in the field of cultural research, as well as the crisis of images overproduction, which requires other approaches and criteria in production and consumption of video products. The methodological guideline of this research field is not only the extrapolation of research methods of high culture into everyday life, but also the study of the iconic power, including those techniques of visualization of non-visual (for example, not things themselves, but the relationship between things, scientific data, software and etc.), which are offered by contemporary culture as new objects of vision. The visual turn has become the result of a shift in the field of humanities, which captures not only the interest for visual sources of scientific knowledge, but also the specifics of methods and techniques for studying any cultural phenomena, as well as criticism of the absolutization of textual research methods. Writing is defined as a visual practice in its relation to others. In this context, visuality is substantiated as a new cultural phenomenon in the logic of culture de-differentiation (in particular image and text), as well as a separate subject of scientific research. The place of visual culture in the structure of visual studies is defined as an area that explores first of all not objects that can be seen (especially separate classes of such objects, such as works of fine art), but their connection with “optical media” (F. Kittler) or" visual technology "(N. Mirzoeff), i.e those practices that determine the order of sight. The focus here is on the organization of visual practices in the perspective of technical optical media and video products ratio as an organization order of signifiers. Visual studies emphasize that video production of technical optical media dominates over the bodily parameters of perception (speed and ways of focusing, perception, recollection). The author of the article reflects on the conflicts of problematization of cultural and visual studies in Ukrainian humanities. In this context, the role of "Kyiv worldview and epistemological school" and the methodological meaning of the activity approach developed here are noted. The current state of visual studies and prospects for further development in this area is also defined.
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38

Puff, Helmut, Kathryn Starkey, and Horst Wenzel. "Visual Culture and the German Middle Ages." Sixteenth Century Journal 38, no. 2 (July 1, 2007): 578. http://dx.doi.org/10.2307/20478451.

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39

Sehume, Jeffrey. "A Review of: “South African Visual Culture”." Visual Anthropology 20, no. 4 (July 25, 2007): 337–42. http://dx.doi.org/10.1080/08949460701424437.

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40

Fleming, Alison C. "Jesuit Visual Culture: Communication, Globalization, and Relationships." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 187–95. http://dx.doi.org/10.1163/22141332-00602001.

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The visual arts are a powerful tool of communication, a fact recognized and utilized by the Jesuits from the foundation of the order. The Society of Jesus has long used imagery, works of art and architecture, and other aspects of visual and material culture for varied purposes, and the five articles in this issue of the Journal of Jesuit Studies explore how the art they commissioned exemplifies the ideals, goals, desires, and accomplishments of the Society. In particular, these five scholars examine a wide array of images and ideas to consider myriad relationships between the Society and works of art in the early modern period, and the implications of their increasingly global footprint.
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41

Jones, Stan. "Review: Exploring Visual Culture: Definitions, Concepts, Contexts." Media International Australia 118, no. 1 (February 2006): 167–68. http://dx.doi.org/10.1177/1329878x0611800131.

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42

Sanders, James H., and Allison Buenger. "Interstitial Spaces: Visual Culture, Domesticity, and Metaphor." Journal of LGBT Youth 7, no. 3 (June 28, 2010): 181–85. http://dx.doi.org/10.1080/19361653.2010.498758.

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43

Padunov, Vladimir, and Mike O'Mahony. "Sport in the USSR: Physical Culture: Visual Culture." Slavic and East European Journal 51, no. 3 (October 1, 2007): 649. http://dx.doi.org/10.2307/20459556.

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44

Mize, Sandra Yocum. "Book Review: The Visual Culture of American Religion." Theological Studies 63, no. 3 (September 2002): 635–37. http://dx.doi.org/10.1177/004056390206300329.

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45

Gray, Herman. "Black Masculinity and Visual Culture." Callaloo 18, no. 2 (1995): 401–5. http://dx.doi.org/10.1353/cal.1995.0055.

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46

Wilkinson, Eleanor. "Perverting Visual Pleasure: Representing Sadomasochism." Sexualities 12, no. 2 (March 24, 2009): 181–98. http://dx.doi.org/10.1177/1363460708100918.

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In this article I examine representations of sadomasochism in visual culture. Increasingly sadomasochistic imagery is becoming prominent and widespread in popular culture. I will ask which forms of sadomasochism are permitted and which are excluded or marginalized. The changing media regimes of visual representation will be addressed, arguing that cyberspace may provide a public forum for sadomasochists to challenge dominant stereotypical representations. Finally I will examine the impact of the current UK legislation to prosecute the viewers of `extreme' pornographic material. This legislation reveals that certain intimate images are still denied the right to exist in visual culture.
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47

Langer, Cassandra, and Amelia Jones. "The Feminism and Visual Culture Reader." Woman's Art Journal 26, no. 1 (2005): 59. http://dx.doi.org/10.2307/3566543.

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48

Stange, Maren. "Jacob Riis and Urban Visual Culture." Journal of Urban History 15, no. 3 (May 1989): 274–303. http://dx.doi.org/10.1177/009614428901500303.

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49

Sargeant, Amy. "Picturing Russia: explorations in visual culture." Early Popular Visual Culture 7, no. 3 (November 2009): 312–14. http://dx.doi.org/10.1080/17460650903254885.

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50

Sayer, Karen. "Working women and visual culture, britain 1880-1914." Women's History Review 14, no. 1 (March 1, 2005): 141–60. http://dx.doi.org/10.1080/09612020500200807.

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