Diversity Reading List

Comment: This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.

Artworks to use with this text:

Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)

A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.

Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)

For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering. This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.

Artworks to use with this text:

Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)

A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.

Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)

For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering.

Comment: This is a prime example of feminist aesthetics and its treatment of the human body. Demaria's main contention is that performance art can be understood textually and representationally even if it does not lay an explicit claim to either type of content. She agrees with Judith Butler's notion of citationality as a perpetual re-inscription of power norms and codes onto the human body. Since bodily presence plays such an important part in most performance art, the question of the possibility of embodied meaning arises naturally. Demaria uses the art of Marina Abramović to show that the question should be answered in the affirmative. Abramović's body exercises discursive transgressions (of language and code) in ways that, according to Demaria, establish a new language of dissent.

Comment: This is a good text for instructors who want to discuses authenticity in the context of a reasonably in-depth look at a particular non-Western cultural context. While the article itself is light on conceptual/ philosophical work, if offers useful material for philosophical analysis and discussion. It would pair well with the theoretical framework provided in Yuriko Saito's "Why Restore Works of Art?", or the alternative approach to authenticity captured in Carolyn Korsmeyer's "Real Old Things."

Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Del LaGrace Volcano, Herm Body (2011- )

Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.

Artworks to use with this text:

Del LaGrace Volcano, Herm Body (2011- )

Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment.

Comment: Useful in discussing portraiture and depiction, as well as power relations and art's role in them in general.

Artworks to use with this text:

Francis Wheatley, A Family Group in a Landscape (c.1775)

A dark clad black boy stands motionless at the extreme left of the canvass, scarcely making into the group. He is literally in the shadows. Useful in discussing portraiture and depiction, as well as power relations and art's role in them in general.

Artworks to use with this text:

Francis Wheatley, A Family Group in a Landscape (c.1775)

A dark clad black boy stands motionless at the extreme left of the canvass, scarcely making into the group. He is literally in the shadows.

Comment: Useful in classes focused on depiction and representation.

Artworks to use with this text:

Marcus Harvey, Myra (1995)

Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express. Useful in classes focused on depiction and representation.

Artworks to use with this text:

Marcus Harvey, Myra (1995)

Despite Harvey's attack on reflex reactions to Hindley and his verbal protest to the contrary, his portrait has further incited public outrage and denied her a chance of fair treatment. There's a clear discrepancy between what the artist has said in interviews and what the painting appears to express.

Comment: Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

Mark Gilbert, Saving Faces (2000)

Gilbert was artist-in-residence at the oral and maxillofacial surgery department of a London hospital. His brief was to illustrate what is, and also isn't, possible with modern facial surgery; and to capture the emotional journey undertaken by patients in ways that standard clinical photography cannot. Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

Mark Gilbert, Saving Faces (2000)

Gilbert was artist-in-residence at the oral and maxillofacial surgery department of a London hospital. His brief was to illustrate what is, and also isn't, possible with modern facial surgery; and to capture the emotional journey undertaken by patients in ways that standard clinical photography cannot.

Comment: Argues that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that is radically different from previous visual arts. Demonstrates that automatism need not stand in competition or conflict with artistic agency.

Artworks to use with this text:

Ilse Bing, Self-portrait with Leica (1931)

It is usual for portraits to show a person's head either in profile or in a frontal position, but this self-portrait shows both alternatives simultaneously. It also depicts the presence of two mirrors in such a way that we are in a position to judge that the camera has recorded its own reflection. Thus, we see both the face of the artist and the "face" of the camera: it is a double self-portrait. Argues that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that is radically different from previous visual arts. Demonstrates that automatism need not stand in competition or conflict with artistic agency.

Artworks to use with this text:

Ilse Bing, Self-portrait with Leica (1931)

It is usual for portraits to show a person's head either in profile or in a frontal position, but this self-portrait shows both alternatives simultaneously. It also depicts the presence of two mirrors in such a way that we are in a position to judge that the camera has recorded its own reflection. Thus, we see both the face of the artist and the "face" of the camera: it is a double self-portrait.

Comment: Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

Garibaldi at Caprera, frontispiece of G.M. Trevelyan, Garibaldi and the Thousand, May 1860 (1931 edition)

A reproduction of a photograph of a copy of a many times copied portrait of the guerilla leader. Devoid of monetary or aesthetic value. Not very likely that Garibaldi looked like this or posed for the artist. The portrait works to endow the historical narrative with its illusion of a unified subject. Useful in discussing portraiture, as well as depiction and representation in general.

Artworks to use with this text:

Garibaldi at Caprera, frontispiece of G.M. Trevelyan, Garibaldi and the Thousand, May 1860 (1931 edition)

A reproduction of a photograph of a copy of a many times copied portrait of the guerilla leader. Devoid of monetary or aesthetic value. Not very likely that Garibaldi looked like this or posed for the artist. The portrait works to endow the historical narrative with its illusion of a unified subject.

Comment: A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.

Artworks to use with this text:

Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)

Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.

Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)

Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively. A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.

Artworks to use with this text:

Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)

Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.

Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)

Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively.