'Seeing Differently offers a history and theory of ideas about identity in relation to visual arts discourses and practices in Euro-American culture, from early modern beliefs that art is an expression of an individual, the painted image a "world picture" expressing a comprehensive and coherent point of view, to the rise of identity politics after the Second World War in the art world and beyond.

This book is both a history of these ideas (for example, tracing the dominance of a binary model of self and other from Hegel through classic 1970s identity politics) and a political response to the common claim in art and popular political discourse that we are "beyond" or "post-" identity. In challenging this latter claim, Seeing Differently critically examines how and why we "identify" works of art with an expressive subjectivity, noting the impossibility of claiming we are "post-identity" given the persistence of beliefs in art discourse and broader visual culture about who the subject "is", and offers a new theory of how to think of this kind of identification in a more thoughtful and self-reflexive way'. (Excerpt from the back cover) 
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Amelia JONES

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Chapter headings
Introduction: the leaking frame of the argument on how to see differently
Art as a binary proposition: identity as a binary proposition
Fetishizing the gaze and the anamorphic perversion: 'the other is you'
Multiculturalism, intersectionality, and 'post-identity'
Queer feminist durationality: time and materiality as a means of resisting spatial objectification
Seeing and reconceiving difference: concluding thoughts, without final conclusions
Seeing Differently: A History and Theory of Identification and the Visual Arts
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Seeing Differently: A History and Theory of Identification and the Visual Arts

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