Index by author

Vol. 25, Winter, 1989

A

  1. Alpers, Svetlana

    1. Foreword
      Svetlana Alpers
      Representations Jan 1989, 25 1-2; DOI: 10.2307/2928463

  2. Armstrong, Carol

    1. The Reflexive and the Possessive View: Thoughts on Kertesz, Brandt, and the Photographic Nude
      Carol Armstrong
      Representations Jan 1989, 25 57-70; DOI: 10.2307/2928467

B

  1. Berger,, Harry

    1. The Lie of the Land: The Text Beyond Canaan
      Harry Berger,
      Representations Jan 1989, 25 119-138; DOI: 10.2307/2928470

  2. Bersani, Leo

    1. Pynchon, Paranoia, and Literature
      Leo Bersani
      Representations Jan 1989, 25 99-118; DOI: 10.2307/2928469

  3. Boyarin, Daniel

    1. "Language Inscribed by History on the Bodies of Living Beings": Midrash and Martyrdom
      Daniel Boyarin
      Representations Jan 1989, 25 139-151; DOI: 10.2307/2928471

C

  1. Carroll, Margaret D.

    1. The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence
      Margaret D. Carroll
      Representations Jan 1989, 25 3-30; DOI: 10.2307/2928464

M

  1. Michaels, Walter Benn

    1. An American Tragedy, or the Promise of American Life
      Walter Benn Michaels
      Representations Jan 1989, 25 71-98; DOI: 10.2307/2928468

S

  1. Snow, Edward

    1. Theorizing the Male Gaze: Some Problems
      Edward Snow
      Representations Jan 1989, 25 30-41; DOI: 10.2307/2928465

W

  1. Wagner, Anne M.

    1. Lee Krasner as L.K.
      Anne M. Wagner
      Representations Jan 1989, 25 42-57; DOI: 10.2307/2928466
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In this issue

Representations: 25
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Vigorously theoretical and highly readable, Representations is ranked in the top 10 journals on Cultural Studies
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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.