The Imagetext: Relations Between the Visual and the Verbal in Painting and Photography
Lambert Academic Publishing, 2011
15cm x 21cm; 76pp; 18 black and white illustrations
perfect bound, printed on 70gsm uncoated paper, with a 150gsm cover
Within ‘visual culture,’ considered as everything that we experience visually, only images and text are creations that are produced exclusively for visual consumption. Yet image and text are often treated as entirely separate entities. This is what W.J.T. Mitchell calls the “fault line of representation” when an all too easy (and deeply entrenched) divide separates theory from practice, reason from intuition, authenticity from illusion, etc. While trying to dissolve such a dualism, recent theoretical interest has overwhelmingly been in favour of the image – raising the profile of ‘literate’ pictures so that they are codified and understood.
In this study, Sheona Beaumont considers the seemingly overlooked sphere of text when asked to speak on image’s terms, as the evidence and experience of visually expressive text has largely gone without consideration. She considers two examples in detail: works by Rene Magritte and Marshall McLuhan, and she asks what happens when imagistic interpretation is brought to bear on the word.
Part 1: Magritte’s Imagetext and Mitchell’s Pictorial Turn
1: Realistic representation in the painting
2: Textual inscription in the painting</li>
Part 2: McLuhan’s Imagetext and Poster’s Mode of Information
3: Realistic representation in the photograph
4: Textual inscription in the photograph
List of Illustrations