By Gary Shapiro
Shapiro explores the full diversity of Foucault's writings on visible paintings, together with the idea of visible resistance, the concept that of the illusion or simulacrum, and his interrogation of the relation of portray, language, and gear in artists from Bosch to Warhol. Shapiro additionally exhibits via an excavation of little-known writings that the visible is an immense subject matter in Nietzsche's proposal. as well as explaining the importance of Nietzsche's research of Raphael, Dürer, and Claude Lorrain, he examines the philosopher's figuring out of the visible size of Greek theater and Wagnerian opera and gives a robust new analyzing of Thus Spoke Zarathustra.
Archaeologies of Vision may be a landmark paintings for all students of visible tradition in addition to for these engaged with continental philosophy.
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Additional resources for Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying
18 Hegel's system of the arts unfolds as a movement from the most material to the most spiritual, from ar chitecture to poetry; while painting is the first of the romantic arts, because it can be seen as sheer expanse and does not participate in the dynamics of gravity in the way that architecture and sculpture do, it is still inferior in imaginative power to music and especially poetry, which dispense with any tangible surface. Heidegger, despite his at tempt to formulate an alternative to Hegel's teleology and idealism, still takes poetry to be the most significant of the arts, the one that is the key to all the others.
1 6 64. Frans H a l s M useum. H a a rlem. Foto Marburg/ Art Resou rce, NY I nt r o d u cti o n : The AbyH o f V i s i o n 15 and to a rigorous ethic of labor as articulated by Calvin and others. Madness, once seen in terms of its relation to the transcendent and to the power of imagination, was now affiliated with the failure to work, and so the failure to work came to be seen as not far from madness. ) The institutions develop their own, internal judicial structures, enjoying considerable autonomy in relation to the state.
Now I want to raise a second question, having to do with whether recent European thought embodies a turn away from the visual and whether it practices a variety of linguistic reductionism. We have heard this charge repeatedly, a charge frequently buttressed by the citation I n t ro d u c t i o n : The A b y s s of V i s i o n 11 of Derrida's "there is nothing outside the text" outside of its own con text and with little attempt to distinguish the positions of different thinkers. We might be struck, however, by the sheer amount of atten tion that has been devoted to painting and the other arts of the visual by, for example, Foucault, Derrida, Lyotard, and Kristeva, all of whom devote books or major essays to painting.