El ojo del espectadorThe viewer's eye

  1. Chen, Mei-Hsin
Revista:
Calle 14: Revista de investigación en el campo del arte

ISSN: 2145-0706

Any de publicació: 2022

Títol de l'exemplar: Julio-Diciembre 2022

Volum: 17

Número: 32

Tipus: Article

DOI: 10.14483/21450706.19625 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Altres publicacions en: Calle 14: Revista de investigación en el campo del arte

Resum

The dawning of the era of the image in the mid-1950s prompted a reconsideration of the existing methodology of art history. Since then, art critics and scholars have paid increasing attention to the viewer’s role in art, and they have therefore developed theories of art that are focused on the viewer. These changes, which had a considerable impact on the visual aesthetics of the 1960s, were transferred to the field of art history in the 1970s. This article deals with authors such as Clement Greenberg, Michael Baxandall, and Svetlana Alpers, who place the experience of the viewer’s eye and visual culture at the core of their studies, with the purpose of examining the use of these components in the methodologies proposed by the new art history.

Referències bibliogràfiques

  • Abaton Book Company. (2011, April 3). The Responsive Eye [Video file]. YouTube. https://youtu.be/vaUme6DY8Lk
  • Alpers, S. (1984). The art of describing. Dutch art in the seventeenth century. Chicago, IL, USA: The University of Chicago Press.
  • Archivio Nazionale Cinema d'Impresa. (2013, October 30). Arte programmata [Video]. YouTube. https://youtu.be/iji_cT9L6RQ
  • Arnheim, R. (1966). Art and visual perception: A psychology of the creative eye. Berkeley, CA, USA:University of California Press.
  • Aupetitallot, Y. (Ed.). (1998). Groupe de Recherche d’Art Visuel (GRAV): strategies de participation: 1960-1968. Grenoble, France: Le Magasin CNAC.
  • Baxandall, M. (1988). Painting and experience in fifteenth-century Italy. Oxford, UK: Oxford University Press.
  • Berenson, B. (1952). Esthétique et historie des arts visuels. Paris, France: Albin Michel.
  • Borgzinner, J. (1964). Op art: Picture that attack the eye. Time 84(17), 78-84. https://monoskop.org/images/a/a9/Op_Art_Pictures_That_Attack_the_Eye_1964.pdf
  • Caianiello, T. (2018). The Fluid Boundaries between Interpretation and Overinterpretation: Collecting, Conserving, and Staging Kinetic Art Installations. In R. Rivenc and R. Bek (Eds.), Keep It Moving?: Conserving Kinetic Art (pp. 16-24). Los Ángeles, CA, USA: The Getty Conservation Institute. http://www.getty.edu/publications/keepitmoving/keynotes/2-caianiello/
  • Crary, J. (1992). Techniques of the observer: On vision and modernity in the 19th century. Cambridge, MA, USA: The MIT Press.
  • Curtis, N. (2009). ‘As if’: Situating the Pictorial Turn. Culture, Theory & Critique, 50(2-3), 95-101. https://doi.org/10.1080/14735780903240067
  • Denise René. (n.d.). Galerie Denise René. https://www.deniserene.fr/denise-ren%C3%A9/
  • Eco, U. (1993). Opera aperta. Milan, Italy: Bompiani.
  • Eco, U., and Munari, B. (1962). Arte programmata. Arte cinética, opera moltiplicate, opera aperta. Milan, Italy: Officina d'arte grafica A. Lucini.
  • Fiedler, K. (2013). Sur l’origine de l’activité artistique. Paris, France: Éditions Rue d’Ulm. DOI: https://doi.org/10.4000/books.editionsulm.896
  • Fondaras, A. (2011). Decorating the house of wisdom: Four altarpieces from the Church of Santo Spirito in Florence (1485-1500) [Doctoral dissertation, University of Maryland]. DRUM. http://hdl.handle.net/1903/11867
  • Fried, M. (1990). La Place du spectateur. Paris, France: Gallimard.
  • Greenberg, C. (1986). The collected essays and criticism. Arrogant Purpose, 1945-1949 (vol. 2). Chicago, IL, USA: The University of Chicago Press.
  • Greenberg, C. (1993). The collected essays and criticism. Modernism with vengeance, 1957-1969 (vol. 4). Chicago, IL, USA: The University of Chicago Press.
  • Harris, J. (2001). The New Art History. A critical introduction. Abingdon, UK: Routledge.
  • Huyghe, R. (1955). Dialogue avec le visible. Paris, France: Flammarion.
  • Jay, M. (1994). Downcast Eyes. The Denigration of Vision in Twentieth-Century French Thought. Berkeley, CA, USA: University of California Press.
  • Krauss, R. (1993). The Optical Unconscious. Cambridge, MA, USA: The MIT Press.
  • Lagier, L. (2008). Les Mille Yeux de Brian de Palma. Paris, France: Cahiers du cinéma.
  • Mitchell, W. J. T. (1994). Picture Theory: Essays on Verbal and Visual Representation. Chicago, IL, USA: The University of Chicago Press.
  • Popper, F. (1968). Origins and development of kinetic art. New York, NY, USA: New York Graphic Society.
  • Seitz, W. C. (1965). The Responsive Eye. New York, NY, USA: The Museum of Modern Art (MoMA). https://assets.moma.org/documents/moma_catalogue_2914_300190234.pdf
  • Singer, R. (2012, July 9th). Gallerist Denise René, known as the “Pope of Abstraction” for championing op and kinetic art, is dead at 99. Blouin Artinfo. https://web.archive.org/web/20120711084728/http://www.artinfo.com/news/story/812718/gallerist-denise-ren%C3%A9-known-as-the-pope-of-abstraction-for-championing-op-and-kinetic-art-is-dead-at-99
  • Zimmermann, M. (1989). Seurat, Charles Blanc, and naturalist art criticism. Art Institute of Chicago Museum Studies, 14(2), 199-247. https://doi.org/10.2307/4108752
  • Zimmermann, M. (1991). Seurat and the art theory of his time. Brussels, Belgium: Fonds Mercator.
Fuente de los datos: Dialnet