Picturing Science, Producing Art

Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.

Caroline A. Jones teaches contemporary art and criticism and directs the Museum Studies Program in the Art History Department at Boston University. Her most recent exhibition is Painting Machines (1997), and her books include Machine in the Studio (1996). Peter Galison is Mallinckrodt Professor of the History of Science and of Physics at Harvard University. He is a recent recipient of a MacArthur Foundation grant; his most recent publication is Image and Logic (1997), and he is co-author of a forthcoming of a forthcoming book, Imagesof Objectivity.

TABLE OF CONTENTSCaroline A. Jones - IntroductionSTYLESCarlo Ginzburg - Style as Inclusion, Style as ExclusionIrene J. Winter - The Affective Properties of Styles: An Inquiry into Analytical Process and the Inscription of Meaning in Art History Amy Slaton - Style/Type/Standard: The Production of Technological Resemblance THE BODY Arnold Davidson - Miracles of Bodily Transformation, or, HOw St. Francis Recieved the Stigmata Londa Schiebinger - Lost Knowledge, Bodies of Ignorance, and the Poverty of Taxonomy as Illustrated by the Curious Fate of Flos Pavonis, an Abortifacient Caroline A. Jones - The Sex of the Machine: Mechanomorphic Art, New Women, and Francis Picabia's Neurasthenic Cure Donna J. Haraway - Deanimations: Maps and Portraits of Life Itself SEEING WONDER Krzysztof Pomian - Vision and Cognition Lorraine Daston - Nature by Design Katharine Park - Impressed Images:Reproducing Wonders David Freedberg - Iconography Between the History of Art and the History of Science: Art, Science, and the Case of the Urban Bee Joseph Leo Koerner - Hieronymus Bosch's World Picture OBJECTIVITY/SUBJECTIVITY Peter Galison - Judgment Against Objectivity Jan Goldstein - Eclectic Subjectivity and the Impossibility of Female Beauty Joel Snyder - Visualization and Visibility CULTURES OF VISION Svetlana Alpers - The Studio, the Laboratory, and the Vexations of Art Bruno Latour - How to Be Iconophilic in Art, Science, and Religion? Simon Schaffer - On Astronomical Drawing Jonathan Crary - Attention and Modernity in the Ninteenth Century