Interdisciplinary Encounters : Hidden and visible explorations of the work of Adrian Rifkin
- Submitting institution
-
The University of East Anglia
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 182640103
- Type
- B - Edited book
- DOI
-
-
- Publisher
- IB Tauris
- ISBN
- 9781780767024
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2015
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Arnold’s contribution to the research in this edited volume lies in the conceptual framing of the project, her editorial practice, editor’s introduction and her own essay. Arnold sought to combine researchers in art history and cultural studies, and practitioners in a unique collaboration to explore the inter-subjectivity of knowledge and the complexities of the visual as a field of intellectual enquiry. Adrian Rifkin was a touchstone for each of the authors, who were encouraged by Arnold to engage and disengage with his work, and address the problematics of interdisciplinarity as a means of thinking about the visual.
Through her innovative and exploratory editorial practice in this volume, Arnold investigates, within the confines of the printed page, the interface between text and image, author and artist. Her editorial approach is integral to the nature of the field of enquiry by working to encourage both heterogeneity and difference; and text and image are juxtaposed through the interweaving of artists’ pages between the chapters themselves. Arnold’s structuring of the volume questions the illusionism of quasi biographical/chronological frameworks that underpin normative histories: Rifkin appears and disappears as the trajectory of his thinking is assembled and dissembled. Arnold was responsible for working with authors to refine their essays and had final responsibility for the layout of the pages, and for the copyediting and proof reading.
The conceptual framing of the book is set out in Arnold’s introduction. She also contributed a chapter The Soundtrack to History pp.55-72, which engages with Rifkin’s work to question how the past is made visible. Focussing on the political print Le Travail, c’est la liberté, she analyses the relationship between word and image through the use of images by historians and art historians, the status of the art object, and how it operates as a form of historical production.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -