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Trauma and Visuality in Modernity

Lisa Saltzman, ed.; Eric Rosenberg, ed.

This groundbreaking collection is among the first in the field of art history to explore the relation between the traumatic and the visual field in the modern period. Ranging across media and spanning from the origins of modernity to the present, the essays gathered here pursue trauma as a structuring yet elusive subject of representation. Examining the most revelatory instances of encounter between event and image, between history and visual form, this collection offers an account of the centrality of trauma’s visualization to an understanding of modernity.

Paper: $34.95
ISBN-13: 9781584655169
Pages: 304 | Size: 6 in. x 9 in.
Date Published: February 17, 2006

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Reviews

  • Art's engagement with the horrors of modern history and the traumas they have induced has been deep, persistent, wrenching, evolving, and frustrating. The essays in this volume explore that relationship with imagination, insight, and passion, ranging widely across forms of trauma, artistic media and styles, and interpretive approaches.

    Michael Leja
    Professor, Department of the History of Art, University of Pennsylvania
  • This collection helpfully amplifies a vivid set of questions that haunt art and objecthood in modernity and that situate art objects, images, and acts as, themselves, haunting. What is it to 'witness' art when art itself may bear unspeakable witness to history's traumatic events or their aftershocks? The editors have carefully chosen texts that continue to open out the visual field to its extra-visual intimations and its phenomenal effects, adding art historical depth to the deeply modern hope that the visual field is always more than meets the eye and more than can neatly congeal in narrative, in memory, or in time.

    Rebecca Schneider
    Associate Professor of Theatre and Performance Studies, Brown University

About the Author

Lisa Saltzman

Lisa Saltzman is a Professor of History of Art and the Emily Rauh Pulitzer ’55 Chair in Modern and Contemporary Art at Bryn Mawr College. A specialist in postwar and contemporary art, as well as the history and theory of photography, her work is animated by questions of history, memory and the ethics of representation.

Saltzman is the author of Anselm Kiefer and Art after Auschwitz; Making Memory Matter: Strategies of Remembrance in Contemporary ArtDaguerreotypes: Fugitive Subjects, Contemporary Objects; and the co-editor, with Eric Rosenberg, of the volume Trauma and Visuality in Modernity. Her work has been widely anthologized and translated into French, Spanish, German, Polish and Hungarian. Educated at Princeton and Harvard, she has been awarded fellowships from the Radcliffe Institute of Advanced Study, the Clark Art Institute and the Guggenheim Foundation.

Eric Rosenberg

Eric Rosenberg is Associate Professor of Art and Art History at Tufts University and author of Trauma and Visuality in Modernity (Dartmouth, 2006).

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