Close Looking and Conviction

Accepted version
Repository DOI

Type
Article
Change log
Authors
Rose, Sam 
Abstract

This essay offers theoretical and practical reflections on the operations involved in description and interpretation based on close looking. Explanations are given of the necessary appeal to contexts of origin or reception in order to disambiguate works of art, the widespread though rarely acknowledged reliance on an attenuated form of intention, and the way in practice that contexts are mobilized in the description or ‘redescription’ of works of art. Wider points made concern scepticism about the idea that works of art might determine their own interpretation (including problems with claims made as part of the phenomenological turn in image studies for the priority of direct or unmediated responses to works of art), the quasi-allegorical nature of even ostensibly object-centred interpretation, and consequences of the fact that modernism can function as a kind of context.

Description

This is the author accepted manuscript. The final version is available from Wiley via http://dx.doi.org/10.1111/1467-8365.12259

This journal's conditions do not allow us to make the file of the article available via the repository. It is therefore under an indefinite embargo.

Keywords
3601 Art History, Theory and Criticism, 36 Creative Arts and Writing
Journal Title
Art History
Conference Name
Journal ISSN
0141-6790
1467-8365
Volume Title
40
Publisher
Oxford University Press (OUP)
Sponsorship
Research for this article was supported by the Arts and Humanities Research Council; The Courtauld Institute of Art; and Peterhouse, Cambridge.