Index by author
Vol. 104 No. 1, Fall 2008
C
Clark, T. J.
- More Theses on FeuerbachT. J. ClarkRepresentations Nov 2008, 104 (1) 4-7; DOI: 10.1525/rep.2008.104.1.4
D
Davis, Whitney
- Subjectivity and Objectivity in High and Historical FormalismWhitney DavisRepresentations Nov 2008, 104 (1) 8-22; DOI: 10.1525/rep.2008.104.1.8
Day, Jean
- Introduction: Representations on FormJean DayRepresentations Nov 2008, 104 (1) 1-3; DOI: 10.1525/rep.2008.104.1.1
G
Gallagher, Catherine
- The Formalism of Military HistoryCatherine GallagherRepresentations Nov 2008, 104 (1) 23-33; DOI: 10.1525/rep.2008.104.1.23
H
Henkin, David M.
- On Forms and MediaDavid M. HenkinRepresentations Nov 2008, 104 (1) 34-36; DOI: 10.1525/rep.2008.104.1.34
Hesse, Carla
L
Laqueur, Thomas
- Form in AshesThomas LaqueurRepresentations Nov 2008, 104 (1) 50-72; DOI: 10.1525/rep.2008.104.1.50
Largier, Niklaus
- Praying by Numbers: An Essay on Medieval AestheticsNiklaus LargierRepresentations Nov 2008, 104 (1) 73-91; DOI: 10.1525/rep.2008.104.1.73
Lye, Colleen
O
Olson, Todd
- Clouds and RainTodd OlsonRepresentations Nov 2008, 104 (1) 102-115; DOI: 10.1525/rep.2008.104.1.102
Otter, Samuel
- An Aesthetics in All ThingsSamuel OtterRepresentations Nov 2008, 104 (1) 116-125; DOI: 10.1525/rep.2008.104.1.116
S
Smart, Mary Ann
- The Queen and the FlirtMary Ann SmartRepresentations Nov 2008, 104 (1) 126-136; DOI: 10.1525/rep.2008.104.1.126
Starn, Randolph
- Historicizing Representations: A Formal ExerciseRandolph StarnRepresentations Nov 2008, 104 (1) 137-143; DOI: 10.1525/rep.2008.104.1.137
T
Tansman, Alan
- Reading Fascism's FormAlan TansmanRepresentations Nov 2008, 104 (1) 144-153; DOI: 10.1525/rep.2008.104.1.144
V
Vernon, James
- The Social and Its FormsJames VernonRepresentations Nov 2008, 104 (1) 154-158; DOI: 10.1525/rep.2008.104.1.154
In this issue
A Short History of the Picture as Box
(Representations 141)
Art historian Amy Knight Powell details the genealogy of the box as a frame, a window, and a container in art. She writes:
In “The Crisis of the Easel Picture” (1948), Clement Greenberg compares the easel picture, disparagingly, to a box-like cavity cut into the wall. In this essay, I argue that late medieval panel paintings—which indeed often took the form of boxes—show Greenberg to be justified in making this comparison, if not in doing so disparagingly. But what Greenberg failed to fully acknowledge is that the easel picture had already long tried to escape this condition through the opening of the metaphor of the window. Failing to recognize this earlier effort to escape the material conditions of the box, many modernists and postmodernists, like Greenberg, attempting to move beyond the easel picture in the name of an art undivided from life, have unintentionally upheld the easel picture’s own escapist ideology.