The graphics of ekphrastic writing: Raymond Pettibon's drawing-writing
- Submitting institution
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York St John University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 483
- Type
- C - Chapter in book
- DOI
-
-
- Book title
- Ekphrastic Encounters: New Interdisciplinary Essays on Literature and the Visual Arts
- Publisher
- Manchester University Press
- ISBN
- 9781526125798
- Open access status
- Out of scope for open access requirements
- Month of publication
- December
- Year of publication
- 2018
- URL
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http://ray.yorksj.ac.uk/id/eprint/3652/
- Supplementary information
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- 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
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘The graphics of ekphrastic writing’ interrogates the underlying and prejudicial assumptions of dominant ekphrasis definitions, with particular emphasis on James A.W. Heffernan’s canonical dictum: ‘the verbal representation of a visual representation’. Through the close consideration of an artwork by Raymond Pettibon, the scholarly literature that surrounds the artist’s work and theoretical frameworks of ekphrasis, the chapter shows that commonplace ekphrasis definitions, and thus the scholarly practices that derive from them, exclude the visual aspect of writing despite their professed interest in the confluence of pictorial and verbal practices.
The book chapter is part of a collection that features the most distinguished literary and art-historical scholars engaged in ekphrasis scholarship (e.g. Liliane Louvel, Claus Clüver, James A.W. Heffernan, Stephen Cheeke, Catriona MacLeod, Lauren S. Weingarden). Overall, the anthology, Ekphrastic Encounters, seeks to reassess framings of ekphrasis away from the oft-antagonistic representational and institutional settings. Through its novel combination of the discourses of contemporary drawing research and French post-structuralist theory, the chapter finds the poetics of the encounter (rather than antagonism) in a move away from ekphrastic frameworks that a priori dichotomise writing and drawing practices. In drawing attention to the material and medial work of the art historian and literary critic in relation to that of the practitioners that they study, the chapter aligns critical, scholarly and creative practices and advocates for the imminent need not to disregard the materiality of scholarly professions.
Part of a larger body of word-and-image studies-related work by the author, this output focusses on established art-historical and literary-studies frameworks in relation one specific artistic example. The implications, utility and applications of this study for the practices of scholars and artists alike have been further explored in other publications.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
