Education
Mirzoeff holds a Bachelor degree from Oxford University and studied for his Doctor of Philosophy at the University of Warwick.
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( In The Right to Look, Nicholas Mirzoeff develops a comp...)
In The Right to Look, Nicholas Mirzoeff develops a comparative decolonial framework for visual culture studies, the field that he helped to create and shape. Casting modernity as an ongoing contest between visuality and countervisuality, or “the right to look,” he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three “complexes of visuality”—plantation slavery, imperialism, and the present-day military-industrial complex—and explains how, within each, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been countered—by the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anticolonialism in the South Pacific, antifascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach.
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( This book explores the dynamic interaction between art ...)
This book explores the dynamic interaction between art and the sign language of the deaf in France from the philosophes to the introduction of the sound motion picture. Nicholas Mirzoeff shows how the French Revolution transformed the ancien régime metaphor of painting as silent poetry into a nineteenth-century school of over one hundred deaf artists. Painters, sculptors, photographers, and graphic artists all emanated from the Institute for the Deaf in Paris, playing a central role in the vibrant deaf culture of the period. With the rise of Darwinism, eugenics, and race science, however, the deaf found themselves categorized as "savages," excluded and ignored by the hearing. This book is concerned with the process and history of that marginalization, the constitution of a "center" from which the abnormal could be excluded, and the vital role of visual culture within this discourse. Based on groundbreaking archival and pictorial research, Mirzoeff's exciting and intertextual analysis of what he terms the "silent screen of deafness" produces an alternative history of nineteenth-century art that challenges canonical views of the history of art, the inheritance of the Enlightenment, and the functions, status, and meanings of visual culture itself. Fusing methodologies from cultural studies, poststructuralism and art history, his study will be important for students and scholars of art history, cultural and deaf studies, and the history of medicine, and will interest a general audience concerned with the relationship of the deaf and the larger society.
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( Groundbreaking and compelling, Watching Babylon examine...)
Groundbreaking and compelling, Watching Babylon examines the experience of watching the war against Iraq on television, on the internet, in the cinema and in print media. Mirzoeff shows how the endless stream of images flowing from the Gulf has necessitated a new form of visual thinking, one which recognises that the war has turned images themselves into weapons. Drawing connections between the history and legend of ancient Babylon, the metaphorical Babylon of Western modernity, and everyday life in the modern suburb of Babylon, New York, Mirzoeff explores ancient concerns which have found new resonance in the present day. In the tradition of Walter Benjamin, Watching Babylon illuminates the Western experience of the Iraqi war and makes us re-examine the very way we look at images of conflict.
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art historian university professor
Mirzoeff holds a Bachelor degree from Oxford University and studied for his Doctor of Philosophy at the University of Warwick.
He is best known for his work developing the field of visual culture and for his many books and his widely used textbook on the subject. He is also Deputy Director of the International Association for Visual Culture and organized its first conference in 2012. 2007-Present: Journal of Photography and Culture, Editorial Board Member 2005: Visiting Canterbury Fellow, University of Canterbury, New Zealand 2004-2007: British Film Institute Television Classics, Editorial Board Member 2002-Present: Situation Analysis, Editorial Board Member 2002: Visiting Fellow, Sterling and Francine Clark Art Institute, Williamstown Master of Arts 2002: Leverhulme Visiting Professor, University of Nottingham, United Kingdom 2001-Present: The Journal of Visual Culture, Editorial Board Member 2001: Visiting Fellow, Humanities Research Center, Australian National University, Canberra, Australia 2001: William Andrews Clark Memorial Library, University of California, Los Angeles, Visiting Fellow 2000-2005: College Art Association, Board of Directors 1996: Postdoctoral Fellow, Humanities Institute, Stony Brook University 1994: Huntington Library, Pasadena, California, Visiting Fellow 1993: Yale Center for British Art, Visiting Fellow 1992: Jean Paul Getty Center, Postdoctoral Fellow in the History of Art and the Humanities 1991: National Endowment for Humanities Postdoctoral Fellow, University of California, Los Angeles Center for 17th and 18th Century Studies.
( Groundbreaking and compelling, Watching Babylon examine...)
( This book explores the dynamic interaction between art ...)
( In The Right to Look, Nicholas Mirzoeff develops a comp...)
(Will be shipped from US. Used books may not include compa...)
