In the 1970s, Kelly's transgressive projects helped to instigate conceptual art's second phase; her daring critiques of the female body as a fetishized, allegorized, commodified site were debated long after they were first seen in galleries and discussed in catalogues, and long before the debut of the "bad girls" in the 1990s. In fact, the debates currently surrounding Kelly's work are a necessary and defining element of theoretical discourse about art today.

Most of us suffer from images implying that we must look and act like movie stars to be sensuous. Movie, television, magazines, as well as our personal histories, shape these images and sensuality. But each of us is born with a natural sensuality that is still locked within us. Eidetic Imaging removes those layers of false images and unlocks our lush, natural sensuality.

We all have secret images within us--as unique as our fingertips--which can transform us into the carefree sexual beings we were born to be. We can uncover those primary images in our own minds because natural sensuality can be self-taught. Images of Desire can unlock what you need to know to find the natural, primal, sensual you . . . and elicit the same sensuality from the person you love. Today, many people's images of sexuality have been shaped by television, magazines, fashion, and advertising, and so no longer arise naturally from their core selves. Eidetic images--the natural images encoded in the brain--have been buried under those imposed layers of false imagery. When used correctly, eidetic images can heal and enhance one's natural sensual abilities, allowing the true sensual self to flourish free of the images imposed on us by society. Images of Desire can reveal the sexual potential we have buried and free us to experience our most genuine emotions--joy, sensual pleasure, love, and passion. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

This book analyses how three artists – Adrian Piper, Nancy Spero and Mary Kelly – worked with the visual dimensions of language in the 1960s and 1970s.

Drawing inspiration from science, scripture, poetry, and relationships, this book explores the meaning of life after death in a variety of traditions.

This volume explores the many facets and ongoing transformations of our visual identities in the twentieth and twenty-first centuries. Its chapters engage with the constitution of personal, national and cultural identities at the intersection of the verbal and the visual across a range of media. They are attentive to how the medialities and (im)materialities of modern image culture inflect our conceptions of identity, examining the cultural and political force of literature, films, online video messages, rap songs, selfies, digital algorithms, social media, computer-generated images, photojournalism and branding, among others. They also reflect on the image theories that emerged in the same time span—from early theorists such as Charles S. Peirce to twentieth-century models like those proposed by Roland Barthes and Jacques Derrida as well as more recent theories by Jacques Rancière, W. J. T. Mitchell and others. The contributors of Imaging Identity come from a wide range of disciplines including literary studies, media studies, art history, tourism studies and semiotics. The book will appeal to an interdisciplinary readership interested in contemporary visual culture and image theory.

This book offers a new methodology for examining the ethico-political dimensions of religion and film which foregrounds film's social power both to shape subjectivity and to image contemporary social contradictions and analyses three specific films: Kurosawa's Dersu Uzala ; Kiarostami's Taste of Cherry ; and the Coens' The Man Who Wasn't There .

Images can be studied in many ways--as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive--they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents--human and non-human, material, geographic, and spiritual--become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.