Realism in early American art and theatre

Curvin, Jonathan

doi:10.1080/00335634409381032

Cited by 2 publications

(1 citation statement)

References 3 publications

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“…In 1944, for example, Jonathan Curvin suggested in the pages of QJS that portraits have long been understood to convey realistic evidence of a person's existence. 28 As Cara Finnegan and Rachel Hall note much more recently, portraits were taken by audiences to reveal the subject's moral character and, under that assumption, were often put to nefarious uses. 29 In contexts marked by strict racial and class division, for instance, portraits were used to "prove" the moral and intellectual deficiency of poor people and people of color.…”

Section: Defining Toxic Portraitsmentioning

confidence: 99%

Toxic Portraits: Resisting Multiple Invisibilities in the Environmental Justice Movement

Barnett

2015

Quarterly Journal of Speech

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This essay conceptualizes "toxic portraits," close-up, in situ photographs of people in toxically assaulted places. Toxic portraits articulate the multiple invisibilities attending environmental injustice through a series of visible indexical signs. As a result, toxic portraits enable spectators to see the precariousness of life as dramatized in human relationships to the environments in which we live. Drawing on the "subjunctive voice of the visual" as a rhetorical heuristic, I conceptualize the productive space created by toxic portraits and ultimately argue that these images invite an ethically inflected response to the dangers of living in a polluted world.

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Section: Defining Toxic Portraitsmentioning

confidence: 99%