Index by author
Vol. 98 No. 1, Spring 2007
G
Gallagher, Catherine
- When Did the Confederate States of America Free the Slaves?Catherine GallagherRepresentations May 2007, 98 (1) 53-61; DOI: 10.1525/rep.2007.98.1.53
J
Jain, Sarah Lochlann
- Living in Prognosis: Toward an Elegiac PoliticsSarah Lochlann JainRepresentations May 2007, 98 (1) 77-92; DOI: 10.1525/rep.2007.98.1.77
K
Kafka, Ben
- The Demon of Writing: Paperwork, Public Safety, and the Reign of TerrorBen KafkaRepresentations May 2007, 98 (1) 1-24; DOI: 10.1525/rep.2007.98.1.1
M
Maslan, Mark
- Telling to Live the Tale: Ronald Reagan, Edmund Morris, and Postmodern NationalismMark MaslanRepresentations May 2007, 98 (1) 62-76; DOI: 10.1525/rep.2007.98.1.62
Miller, Andrew
- Lives Unled in Realist FictionAndrew MillerRepresentations May 2007, 98 (1) 118-134; DOI: 10.1525/rep.2007.98.1.118
S
Saint-Amour, Paul K.
- "Christmas Yet To Come": Hospitality, Futurity, the Carol, and "The Dead"Paul K. Saint-AmourRepresentations May 2007, 98 (1) 93-117; DOI: 10.1525/rep.2007.98.1.93
Selcer, Daniel
- The Uninterrupted Ocean: Leibniz and the Encyclopedic ImaginationDaniel SelcerRepresentations May 2007, 98 (1) 25-50; DOI: 10.1525/rep.2007.98.1.25
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.