VISUAL RESOURCES

AN INTERNATIONAL JOURNAL OF DOCUMENTATION

Published By: Routledge, Taylor & Francis Group
Frequency: 4 issues per year
Print ISSN: 0197-3762
Online ISSN: 1477-2809
VR Online at Informaworld

Vol. 25, No. 4 (December 2009)

Vol. 25, Nos. 1-2 (March-June 2009)

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Vol. 24, No. 3 (September 2008)

Available for separate purchase from T&F. Please use the order form at http://www.tandf.co.uk/journals/spissue/gvir-si3.asp

• Maria P. Gindhart, Introduction: Imaging Blackness in the Long Nineteenth Century
• Kevin Michael Scott, The "Negro Touch" and the "Yankee Trick": William Sidney Mount and the Art of Race and Ethnicity
• Guy Jordan, Race in Transit: Intoxication and Slavery in the Art of Charles Deas
• Peter Benson Miller, "Des couleurs primitives:" Miscegenation and French Painting of Algeria
• Catherine E. Anderson, A Zulu King in Victorian London: Race, Royalty and Imperialist Aesthetics in Late Nineteenth-Century Britain
• Maria P. Gindhart, Cro-Magnon and Khoi-San: Constant Roux's Racialized Relief Sculptures of Prehistoric Artists

Vol. 24, No. 2 (June 2008)

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• Katy Layton-Jones, Introduction: Visual Collections as Historical Evidence
• Stephen Connolly, Unseeing the Past: Vision and Modern British History
• Robin Usher, Reading Architecture: St. Andrew's Church, Dublin, 1670-1990
• Nick Mansfield, The Contribution of the National Banner Survey to Debates on Nineteenth-Century Popular Politics
• David Clampin, "The war has turned our lives upside-down": The Merit of Commercial Advertising in Documenting the Cultural History of the British Home Front in the Second World War
• John K. Walton, Commemorating the Co-op: Nostalgia, Identity and the Visual Traces of the Co-operative Movement in Twentieth-Century Britiain
• David Stewart, The British Labour Party, "Parliamentary Socialism," and Thatcherism, 1979-1990: A Visual Perspective
• Katy Latyon-Jones, Visual Quotations: Referencing Visual Sources as Historical Evidence

Vol. 23, Nos. 1-2 (March-June 2007)

Available for separate purchase from T&F. Please use the order form at http://www.tandf.co.uk/journals/spissue/gvir-si.asp

• Bettina Hagen, The Cast Collection at the Academy of Fine Arts in Vienna
• Astrid Mahler (translated by Elborg Forster), A World of Forms from Nature: New Impulses for the Aesthetic of the Jugendstil
• Louis Rose, Daumier in Vienna: Ernst Kris, E.H. Gombrich, and the Politics of Caricature
• Cheryl A. Logan, Cases and Prototypes: Constitutionalism and Photographic Portrayal of the Person in Freud's Vienna
• Elfriede Haslauer (translated by John Winbigler), Egypt in Nineteenth-century Vienna: A Phantasm?
• Diane O'Donoghue, Mapping the Unconscious: Freud's "Topographic" Constructions
• Michael Molnar, From Image to Evidence: At the Historic Corner Window. 17.6.1897
• Forbes Morlock, The Very Picture of a Primal Scene: Une leçon clinique à la Salpêtrière

Vol. 22, No. 2 (June 2006)

• Ulrich Rüter, Photography in Germany Today: A Sketch of Its Institutional Landscape
• Arne Reimer, Beyond the "Becher School": Recent Tendencies in German Photography of the Post-Reunification Era
• Anette Hüsch, Real Fiction: Peter Bialobrzeski's Search for Convincing Images
• Maren Polte, Photography: Irrelevant or Indispensable? Pictorial Science from the Perspective of Photography
• Cristina Cuevas-Wolf, Nature, Technique and Perception: Twentieth-century Afterimages and Modes of Scientific Representation

Vol. 22, No. 1 (March 2006)

• Romita Ray, The Beast in a Box: Playing with Empire in Early Nineteenth-century Britain
• Daniel Harkett, Illusions of Power: The Diorama and the Royalist Press in Restoration Paris
• Michael Leja, Art and Class in the Era of Barnum
• Alison Fraunhar, Picturing the Nation: Marquillas Cigarerras Cubanas and the Plantation
• Vanessa R. Schwartz, Afterward: The Promise and Perils of Visual Culture's Big Tent

Vol. 21, No. 3 (September 2005)

• Thomas Andrew Denenberg, Picture Houses and Period Rooms: Wallace Nutting, the Museum, and the Market
• Kristina Wilson, Style and Lifestyle in the Machine Age: The Modernist Period Rooms of "The Architect and the Industrial Arts"
• Curt Germundson, Alexander Dorner's Atmosphere Room: The Museum as Experience
• Elizabeth Kennedy, Home on the Range: Frederic Remington's Recreated Studio at the Whitney Gallery of Western Art

Vol. 21, No. 2 (June 2005)

• Ulrich Keller, Producing/Controlling Spectacle: Presidential Speech in Media Reportage
• Stan Honda: An Interview by Amy Lyford & Carol Payne
• Terri Weissman, The Spectacle of Trauma: 9/11 in the Museum
• Randa Shaath: An Interview by Carol Payne & Amy Lyford
• Jane Blocker, A Cemetery of Images: Meditations on the Burial of Photographs
• Mark Danner, An Excerpt from "The Secret Road to Abu Ghraib" With an Introduction by Carol Payne & Amy Lyford

Vol. 21, No. 1 (March 2005)

• Vibiana Bowerman and Nensi Brailo, Protecting Our Shared Cultural Heritage: An Overview of Protocols and Projects
• Wlodek Witek, The Eyes and Ears of an Explorer: Database for Audiovisual Archives of a Norwegian Linguist from his Journeys to Afghanistan and South Asia, 1923-1975
• Linda Groom, An Interlude in Iraq: The Photographs and Dairies of Australian Photographer Frank Hurley in the Catalogues of the National Library of Australia
• Jeffrey B. Spurr, Glimpses of an Eclipsed Heritage: Photography of Afghanistan in the Collections of the Fine Arts Library at Harvard
• Francis Deblauwe, Antiquities and the Iraq War: Information, the Web and Pictures
• Clemens Reichel, Beyond Cataloguing Losses: the Iraq Museum Database Project at the Oriental Institute, University of Chicago

Vol. 20, Nos. 2-3 (June-September 2004)

• Sarah Blick, Exceptions to Krautheimer's Theory of Copying
• Rita W. Tekippe, Copying Power: Emulation, Appropriation, and Borrowing for Royal Political Purposes
• Vibeke Olson, The Significance of Sameness: An Overview of Standardization and Imitation in Medieval Art
• Cheryl Gohdes Goggin, Copying Manuscript Illuminations: The Trees of Vices and Virtues
• Yao-Fen You, Krautheimer and the Marketplace: VERnacular Copies of Antwerp Compound Altarpieces in the Rhineland
• Janet Snyder, "A Good Head for Business": Evidence of Standardization in Medieval Stone Sculpture
• Marguerite Keane, Louis IX, Louis X, Louis of Navarre: Family Ties and Political Identity in the Hours of Jeanne de Navarre

Vol. 19, No. 4 (December 2003)

• Jan L. de Jong, Word Processing in the Italian Renaissance: Action and Reaction with Pen and Paintbrush
• Liana De Girolami Cheney, Giorgio Vasari's Astraea: A Symbol of Justice
• Lyckle de Vries, Written Paintings: Real and Imaginary Works of Art in De Lairesse's Schilderboek
• Kathryn N. Benzel, Modern In(ter)ventions: Reading the Visual

Vol. 19, No. 1 (March 2003)

• Mat Immerzeel, Introduction to Paul van Moorsel
• Hans Brandhorst, The Hague, Koninklijke Bibliotheek MS 76 F 5: A Psalter Fragment?
• Claudine A. Chavannes-Mazel, Popular Belief and the Image of the Beardless Christ
• Mat Immerzeel, A Day at the Sarcophagus Workshop
• Karel C. Innemée, Veneration of Portraits, Icons, and the Relics in Christian Egypt
• Gertrud J.M. van Loon, Abraham, Isaac, and Jacob in Paradise in Coptic Wall Painting

Vol. 18, No. 2 (June 2002)

• Carol Payne and Jeffrey Thomas, Aboriginal Interventions into the Photographic Archives: A Dialogue between Carol Payne and Jeffrey Thomas
• Vid Ingelevics, Culture (Camera) Commerce: The Gift Shop Exhibition at the Winnipeg Art Gallery
• Christine Y. Hahn, Exhibition as Archive: Beaumont Newhall, Photography 1839-1937, and the Museum of Modern Art
• Miranda J. Wallace, August Sander's Photographic Archive: Fables of the Reconstruction
• Lyndell Brown and Charles Green, Robert Smithson's Gost in 1920s Hamburg: Reading Aby Warburg's Mnemosyne Atlas as a Non-Site

Vol. 17, No. 4 (2001)

Harwood Academic Publishers

• David Prochaska, Thinking Postcards
• Allan Life, Picture Postcards by M.V. Dhurandhar: Scenes and Types of India-with a Difference
• Ellen Handy, Postcard Sublime: William Henry Jackson's Western Landscapes
• Lynda Klitch, Little Women: The Female Nude in the Golden Age of Picture Postcards
• Craig Eliason, Manifestos by Mail: Postcards in the Theo van Doesburg Correspondence
• Peter Chametzky, The Post History of Willi Baumeister's Anti-Nazi Postcards

Vol. 17, No. 1 (2001)

Harwood Academic Publishers

• Evelyn Lincoln, Models for Science and Craft: Isabella Parasole's Botanical and Lace Illustrations
• William B. MacGregor, Illustration and its Afterlife: The Visual Uses of Sébastien Le Clerc's Pratique de la géométrie
• Laura H. Hollengreen, Illustrating Architecture
• Kent Minturn, Digitally-Enhanced Evidence: MoMA's Reconfiguration of Namuth's Pollock
• James Elkins, On Some Useless Images

Vol. 16, No. 3 (2000)

Harwood Academic Publishers

• Carol Neuman de Vegvar, The Architecture of Women's Monasticism in Archaeology and in Early Insular Texts
• Frank Futral, Text as Image: Charles Willson Peale's "Lost" Staircase Self-Portrait
• Liana De Girolami Cheney, Giorgio Vasari's Visual Interpretation of Ancient Lost Paintings
• Elizabeth E. Guffey, Reconstructing the Limits of Propaganda: Pierre-Paul Prud'hon and the Art of Napoleon's Remarriage
• Carrie Lambert, Documentary Dialectics: Performance Lost and Found

Vol. 16, No. 2 (2000)

Harwood Academic Publishers

• Gunnar Swanson, Where Can I Steal a Clever Title for this Article?
• Anne L. Schroder, Reversals of Power: Artistic Property, Counterfeiture, and the 1793 French Copyright Act
• Stephen Petersen, Innovation and the Rhetoric of Plagiarism: The Klein/Takis Rivalry
• Judy Sund, The Preke Speaks: Kahlúa's Co-option of West Mexican Burial Effigies
• Richard T. Pfohl, The Key to the (Digital) Salon: Copyright and the Control of Creative Expression

Vol. 15, No. 3 (1999)

Harwood Academic Publishers

• Nigel Spivey, A Short History of the Phaidon Press, 1923-1998
• Ernst Fischer, The Phaidon Press in Vienna, 1923-1938
• Valerie Holman, Art Books Against the Odds, Phaidon in England, 1938-1950
• Elly Miller, Ludwig Goldscheider: a Memoir
• Harvey Miller, Phaidon and the Business of Art Book Publishing, 1923-1967
• Anthony Hamber, Communicating Colour: Advances in Reprographic Technology, 1840-1967
• Clive James, On the Library Coffee-Table
• HIStorical Catalogue, 1923-1972, Originally compiled by Innocenz Grafe for the Phaidon Jubilee Catalogue in 1973

Vol. 15, No. 2 (1999)

Harwood Academic Publishers

• Patricia Mainardi, Copies, Variations, Replicas: Nineteenth-Century Studio Practice
• Richard A. Sundt, Architectural Simile, Copy or Original Creation? The Church of St. Brigid in Brisbane and Its Relationship to Gothic Architecture in Southern France
• William V. Ganis, The Eternal Lady: An Analysis of Andy Warhol's Jackie Series vis-à-vis Friedrich Nietzsche's Eternal Return of the Same
• Robert A. Baron, From Romance to Ritual: Mona Lisa Images for the Modern World
• Jonathan Applefield (and ELIZ), Demythologizing the Copy: An Interview with ELIZ
• Donna M. Meeks, The Allegorical Imperative (Or Why Paint When the Copy Store is Open Twenty-four/Seven?
• Karen M. White, The Copy
• Debbie Hall, The Original and the Reproduction: Art in the Age of Digital Technology

Vol. 14, No. 4 (1999)

Harwood Academic Publishers - ISBN 90-5700-564-6

• Howard Besser and Robert Yamashita, Issues of Network Access to Visual Information: The UC Berkeley Mellon Study of the Museum Educational Site Licensing Project
• Robert C. Yamashita, Outlining the Social and Economic Cost Center Models for the Distribution of Digital and Analog Images
• Joanne Miller, The Costs of Creating Digital Images and Metadata by Museums
• Rosalie Lack, The Cost of Deploying Digital Images by Universities
• Joanne Miller, The Cost of Distributing Analog Images by University Slide Libraries
• Rosalie Lack, The Patterns of Slide Library Circulation: A Study
• Lena Stebley, Faculty Perspective on Teaching with Digital Images: Results of Focus Groups with Art Faculty
• Howard Besser, The MESL Experience versus Slide Libraries: Comparison and Analysis

Vol. 14, No. 3 (1999)

Gordon and Breach Publishers - ISBN 90-5700-556-5

• Robert Neuman, "Now Mickey Mouse Enters Art's Temple": Walt Disney at the Intersection of Art and Entertainment
• Garry Apgar, The Meaning of Mickey Mouse
• Robin Allan, Walt Disney and Europe
• Barbara Coleman, Trough the Year We'll All be Friends: The "Mickey Mouse Club," Consumerism, and the Cultural Consensus
• Ethel S. Goodstein, Southern Outposts in the Magic Kingdom: The South as a Regional Sub-text in Disney's American Spectacle
• David T. Doris, "It's the Truth, It's Actual...": Kodak Picture Spots at Walt Disney World
• Cher Krause Knight, Adam and Eve...and Goofy: Walt Disney World as the Garden of Eden

Vol. 13, Nos. 3-4 (1998)

Gordon and Breach Publishers - ISBN 90-5700-532-8

• Isa Ragusa, Observations on the History of the Index: In Two Parts
• Dirk Jacob Jansen, Princeton Index of Christian Art: The Utrecht Copy
• Kirk Alexander, The Visualization of Art History: The role of Databases in Visual Thinking
• Lindy Grant, Time and the Conways: The Beginnings of Art History and the Collecting of Photographs in Britain
• Jochen Becker, Librarians, Life and Ladders: Carl Spitzweg and Others
• Todor Petev, Typology and Format in the Netherlandish Blockbook Canticum canticorum, ca. 1465
• Christina Maranci, Armenian Architecture as Aryan Architecture: The Role of Indo-European Studies in the Theories of Josef Strygowski
• Natalia Teteriatnikov, The 'Gift Giving' Image: The Case of the Adoration of the Magi
• Johann-Christian Klamt, Artist and Patron: The Self-Portrait of Adam Kraft on the Sakramentshaus of St. Lorenz in Nuremberg

Vol. 12, Nos. 3-4 (1997)

Gordon and Breach Publishers - ISBN 90-5699-553-7

• Karen A. Akiyama, Rights and Responsibilities in the Digital Age
• David Bearman and Jennifer Trant, Museums and Intellectual Property: Rethinking Rights Management for a Digital World
• Amalyah Keshet, Fair Use, Fair Trade, and Museum Image Licensing
• Allan Kohl, Prospects for a Public Domain Art Image: Resources in an Era of Digital Technologies
• Christine L. Sundt, A Visual Resources Advocacy Statement
• Maryly Snow, The Pedagogical Consequences of Photomechanical Reproduction in the Visual Histories: From Copy Photography to Digital Mnemonics
• Karlene M. McLaren, Copyright: Fair Use or Foul Play
• Stephen E. Weil, Fair Use/Museum Use: How Close is the Overlap?
• Barbara Hoffman, Fair Use of Digital Art Images and Academia: A View from the Trenches of the Conference on Fair Use (CONFU)
• Virginia M.G. Hall, Fair Use and Digital Image Archives: A Report on the National Information Infrastructure Conference on Fair Use
• Caron L. Carnahan, The Visual Surrogate as Intellectual Property: The Clinton Administration's "White Paper" and its Implications for Visual Resources Collections
• Barbara lang Rottenberg and Rina Elster Pantalony, Moral Rights and Exhibition Rights: A Canadian Museum's Perspective
• Linda Bien, Canadian Visual Resources and Canadian Copyright
• Maryly Snow: REVIEW-Copyright, Public Policy, and the Scholarly Community, edited by Michael Matthews and Patricia Brennan

Vol. 11, Nos. 3-4 (1996)

Gordon and Breach Publishers - ISBN 2-88449-237-2

• Mary Case, Document for Dialogue: Categories for the Description of Works of Art
• Suzanne Folds McCullagh, Nuances of Art Information
• David Bearman, Data Relationships in the Documentation of Cultural Objects
• Gregory Tschann, Categories in Context: Issues Regarding the AITF Categories for the Description of Works of Art
• J. Dustin Wees, Categories for the Description of Works of Art and Visual Resources Applications
• Brendan Cassidy, Iconography in Theory and Practice
• 1994 Annual Meeting o the College Art Association (CAA), College Art Association Board-Sponsored Session: "Data ex Machina: How the Art Information Task Force is Paving the Way for Research Across Data Highways"
• Chart of Categories
• Categories for the Description of Works of Art: Definitions
• Bibliography of Controlled Vocabulary Sources

Vol. 11, No. 1 (1995)

Gordon and Breach Publishers - ISBN 2-88449-221-6

• Georgia B. Barnhill, Pictorial Histories of the United States
• Katherine Martinez, Imaging the Past: Historians, Visual Images and the Contested Definition of History
• Marcy Flynn and Helena Zinkham, The MARC Format and Electronic Reference Images: Experiences from the Library od Congress Prints and Photographs Division
• Michael Joseph, Information Technology and Access to Visual Images in Printed Books
• Jackie M. Dooley, Processing and Cataloging of Archival Photograph Collections
• William H. Helfand, The Search for Ephemera Images

Vol. 10, no. 3 (1994)

Gordon and Breach Publishers - ISBN 2-88449-167-8

• Toni Petersen, Retrofitting the Thesaurus: New Models for Old Vocabularies
• Lina Miraglia, Piranesi's Vasi, candelabri Reinterpreted
• Holley R. Lange, John Gravdahl, and Heidi Leech, The Physical Characteristics of Poster Art: Seeking an Appropriate List of Descriptors
• Richard Pearce-Moses, Threading the Needle: Helping Patrons Find their Way in a Photographic Archives Haystack
• James M. Turner, Indexing "Ordinary" Pictures for Storage and Retrieval
• Betsey Buckheit, Between Two Vocabularies: Image Indexer as Middleman
• Janice Woo, Indexing: At Play in the Fields of Postmodernism
• David Bearman, Thesaurally Mediated Retrieval

Vol. 10, No. 1 (1994)

Gordon and Breach

• Benjamin R. Kessler, Electronic Images in Visual Resources Collections: Some Strategic Questions
• Michael Ester, Digital Images in the Context of Visual Collections and Scholarship
• Deirdre C. Stam, Pondering Pixeled Pictures: Research Directions in the Digital Imaging of Art Objects
• Victoria Wyatt and Ged McLean, Imaging Databases in Research and Teaching: Global Perspectives and New Research Technologies
• William Weinstein, Designing an Image Database: A Holistic Approach
• Jim Wallace, Project Chapman: The Direct Delivery of Smithsonian Photographic Images Via the Internet

Vol. 8, No. 1 (1991)

Gordon and Breach - ISBN 2-88124-509-9

• Section 1. Functional Requirements for an ICONCLASS Retrieval System
• Section 2. Implications for Using ICONCLASS in an Automated Retrieval System
• Section 3. The AHIP Prototype
• Section 4. The Maintenance and Development of ICONCLASS
• Epilogue: Workshop Results and Some Recent ICONCLASS Developments
• Appendix 1: ICONCLASS Questionnaire
• Projects and Respondents
• The Questionnaire
• Appendix 2: Glossary
• Description of Characteristic Functions of the ICONCLASS Retrieval System

Vol. 7, No. 4 (1991)

Gordon and Breach - ISBN 2-88124-510-2

• Howard Besser, User Interfaces for Museums
• Kent Lydecker, Observations on Museum Use of Electronic Imaging: Today & Tomorrow
• Alan B. Newman, Electronic Imaging Systems for Museums
• Michael Ester, Image Quality and Viewer Perception
• Paul Kahn and Bernard J. Haan, Video in Hypermedia: The Design of InterVideo
• Judi Moline, Linking Information to Objects: A Hypertext Prototype for Numismatists
• Ben Davis, Infra-thin Multimedia
• Kathleen S. Wilson, The Interactive Video Research and Development Project of the Museum Education Consortium
• Jane Stone, J. Denbigh Starkey, Ray S. Babcock, Laurie Reinhart, and Xian Ling Wu, Three-Dimensional Computer Modeling for Museum Applications
• Marilyn Schmitt, James Druzik, Andrew Eskind, Russell Kirsch, Paul Kahn, Discussion: Potentials and Pitfalls

Vol. 7, Nos. 2-3 (1990)

Gordon and Breach - ISBN 2-88124-459-9

• Editorial: From Panopticon to Kaleidoscope: The Art History Photograph Collection in Transition
• Anthony Hamber, The Use of Photography by Nineteenth-Century Art Historians
• Joseph Romano, Connoisseurship and Photography: The Methodology of Mojmir Frinta
• Friedrich Kestel (translated by Judith Supp), Walter Hege (1893-1955): "Race Art Photography" and/or "Master of Photography"?
• Ralph Lieberman, Thoughts of an Art Historian on the Relationship of His Two Disciplines
• Jeanne Marty and Susan Wester, Documentation of Roman Architecture: Special Projects of the Getty Center
• Brent Maddox, Bunched Images Betetting Ideas
• Thomas Weston Fels, Photography and Art History: Symposium Report

Vol. 6, No. 4 (1990)

Gordon and Breach - ISBN 2-88124-441-6

• Christine L. Sundt, Professionalism and Professional Status: Personal Reflections
• Carla Conrad Freeman, Visual Media in Education: An Informal History
• Astrid R. Otey, A History of the Visual Resources Association
• Carla Conrad Freeman, Visual Collections as Information Centers
• A Portfolio of Scenes from Visual Collections
• Benjamin R. Kessler, Professional Qualifications: Where Do We Come From? What Are We? Where Are We Going?
• Linda McRae, Upgrading Professional Status: Florida as a Case Study
• Nancy Shelby Schuller, The Curator's Job Description: Development and Evaluation
• Christina B. Updike, Position Classification: The Evaluation of a Job Description
• Rebecca Miller Hoort, Equal Pay for Equal Work and Comparable Worth: An Introduction
• Lynda J. Ames, Equal Pay for Work of Comparable Value: Issues to Consider When Beginning an Initiative
• Carla Conrad Freeman, Professional Issues for the Visual Resources Curator: A Bibliography

Vol. 5, No. 3 (Autumn 1988)

Gordon and Breach

Helen Ronan, Review Editor
Visual Resources
2 Duggan Road
Acton, MA 01720 - USA
hronan@comcast.net

Murtha Baca, News Editor
Visual Resources
Getty Research Institute
Los Angeles, CA 90049 - USA
mbaca@getty.edu