5 Representing Ourselves, Representing Others

J. Keri Cronin and Hannah Dobbie

 

A photographic image of a six-member white family, located inside of a home, that is hand-coloured. The mother and father are wearing dark clothing and are sitting in chairs. The children are wearing white tops with blue ribbons tied around their necks.
Artist Unknown, Family Portrait (photographic print with applied colour, c.1915)
Image Source: Smithsonian American Art Museum and its Renwick Gallery (CC0)

 

Visual culture plays a big part in the stories we tell about ourselves. From the posters and framed photographs we have in our homes, to the stickers we put on our laptops or the logos on our clothing, images are a part of our personal identity. We choose to surround ourselves with certain kinds of images because they make us feel good or because they remind us of things that are important to us. These images also reveal a bit about our personality to other people.

 

What To Wear?

Even our choice of clothing presents an outward statement about who we are to the world. Our ideas about what is acceptable to wear, what is fashionable, what is out of style, and what is inappropriate to wear are shaped, in large part, through broader cultural and social ideas that are often reinforced through visual culture. These things shift and change over time and in different parts of the world.

 

A black and white photograph of three white women sitting around a table having tea. The women are wearing long black dresses with matching ornate hats. A white cloth is draped over the table, on which the tea service sits.
Photographer Unknown, Three Women Sitting Around a Table Drinking Tea, Glengarry County, Ontario (photograph taken between 1895 and 1910) Image Source: Archives of Ontario, Bartle Brothers Fonds (Public Domain)

 

Further, it is important to understand that the visual culture of fashion and fashion history has always been deeply entangled with broader cultural ideas about gender, race, culture, sexuality, and notions of ideal beauty.

 

An illustration of three women and a girl. The women are standing beside one another in various poses. Colour is used sparingly, the strongest use of which emphasises the clothing each figure is wearing. The clothing is lavish and clearly expensive.
Rigolet and Legastelois, The Fashions: Expressly designed and prepared for the Englishwoman’s Domestic Magazine (magazine illustration, 1863/64)
Image Source: New York Public Library, Public Domain

 

A photograph of an ornately beaded and decorated hood positioned that only a rectangular patch of cloth is seen. Bands of decorations from long vertical bands of various designs, turning a right angle at the bottom. The designs are all on a black background with red borders and white patterning in between. Strings of beads hand from the bottom of the fabric, all having the same colour pattern.
Artist Unknown (James Bay Cree), Woman’s Hood (Wool cloth, glass beads, and silk ribbon, c.1840) Image Source: The Metropolitan Museum of Art, Public Domain

 

A colour photograph of a headless white mannequin wearing a short-sleeved pink ballgown. Yellow lace decorates the shoulders, with embroidered floral patterning through the dress.
House of Worth/Jean-Philippe Worth, Ballgown (silk and rhinestones, 1900) Image Source: The Metropolitan Museum of Art, Public Domain

 

A black and white photograph of a woman sitting at a table. Her forearms are resting on the surface of the table, and she is covered in elaborate tattoos from the neck down. She has a multi-rowed pearl necklace and a flower in her hair.
Photographer Unknown, Maud Stevens Wagner (photograph, c.1907) Image Source: Library of Congress, Public Domain

 

Reflection Exercise

Think about the types of visual culture that you use to express who you are. From the items you display in your home to tattoos and jewellery you adorn yourself with, your choices say something about you.

Select three of these items and focus on them in a 10 minute freewriting session. If you don’t know what to write, the following prompts can get you started:

  • What do they look like?
  • What type of images/objects are they?
  • Where did you get them from?
  • How do they make you feel?
  • What do you think they say about you to others?

 

Portraiture

 

An oil painting portrait of a white woman wearing a red and black striped top with an intricate white lace decoration around the neckline. The clothing is clearly of very high quality and various forms of extravagant jewellery decorate the outfit.
Paulus Moreelse, Portrait of a Young Lady (oil on panel, 1615–1625) Image Source: Art Institute of Chicago, Public Domain

 

Portraiture is a fascinating genre of visual culture. Many portraits from previous eras are paintings of the wealthy, elite, and, of course, royalty. It was expensive to have one’s portrait painted and the resulting images were a concrete demonstration of wealth, privilege, and status. As we can see in the example above by Paulus Moreelse, sitters (the fancy term used to describe the person who is in the portrait) were often depicted wearing luxurious clothing and jewellery, the finest fabrics and the latest styles of the day. Even though the identity of the “young lady” in the Moreelse painting is not given here, we can discern information about her status by the fact that she had her portrait painted. This was not something that everyone in 17th century Europe could easily afford.

 

An oil painting of a white woman standing against a dark background wearing a long flowing dress. The dress is white and gold and has a slight reflective quality as if made from silk. The woman has grey hair which is worn high on her head.
Thomas Gainsborough, Mrs. Grace Dalrymple Elliott (oil on canvas, 1778) Image Source: The Metropolitan Museum of Art, Public Domain

 

An oil painting of a man standing in front of a plain white background, standing on a dark brown floor. The man is dressed in a suit and is holding a top hat in his right hand, which is hanging at his side. His left arm is bent at the elbow, and draped over this arm is a pink dress. He is holding a closed red paper fan in his left hand.
James McNeill Whistler, Arrangement in Flesh Colour and Black: Portrait of Theodore Duret (oil on canvas, 1883) Image Source: The Metropolitan Museum of Art, Catharine Lorillard Wolfe Collection, Public Domain

 

An oil on canvas portrait of a white woman. The background is a muddy brown with an oval of slightly lighter brown framing the figure. The woman is wearing a black lace top which is roughly painted. Her face and hair are light which pulls focus to these features. She is looking to the left of the image with a slight smile on her face. Her hair is a brownish grey and is worn up, with a light lace covering resting on the top.
Thomas Gainsborough, Queen Charlotte (oil on canvas, 1782) Image Source: The Metropolitan Museum of Art, Public Domain

 

These last three examples of portraits are all of named individuals: Mrs. Grace Dalrymple Elliott, Thodore Duret, and Queen Charlotte. (Yes, the Queen Charlotte who is portrayed in Queen Charlotte: A Bridgerton Story–another layer of visual culture!)

These portraits are also painted by well-known and celebrated artists who are themselves the focus of art historical research, museum exhibitions, and biographies. This can shift the meaning of the painting depending upon the context in which it was viewed. So, for example, research by curators at the Metropolitan Museum of Art has lead to the speculation that the portrait of Mrs. Grace Dalrymple Elliott was commissioned by George Cholmondeley, the first marquis of Cholmondeley and a man reported to be Mrs. Elliott’s lover. In that context, the portrait had a very specific meaning. However, when it is exhibited in an art gallery today it is often shown as an example of “a Gainsborough” which layers on a different set of meanings. As we learned earlier in this book, the meaning of a picture can shift and change depending upon the context in which it is viewed.

Perhaps not surprisingly, one of the early applications of photography was portraiture. With processes like the daguerreotype it became feasible for a larger portion of the population to sit for a portrait (or “likeness”). A visit to the photographer’s studio was an important event, and people often dressed in their best clothes for the occasion. Mobile studios run by itinerant photographers offered even more opportunities for people to obtain portraits of themselves and their loved ones.

 

A photographic image of an open photo case. The case opens like a book revealing two panels. The left panel is lined with a worn red fabric, embossed with a leaf. The right panel contains a black-and-white photograph of a white woman framed in a decorative gold frame. The woman is sitting on a chair, her head resting slightly against her left hand. The woman is wearing a long sleeved dark dress with white lace accents on her collar and wrists.
Unknown Photographer, Portrait of Woman Wearing Glasses (daguerreotype, 1850-55)
Image Source: The Metropolitan Museum of Art, Public Domain

 

A photographic image of an open photo case. The case opens like a book revealing two panels. The left panel is lined with a worn red fabric. The right panel contains a black-and-white photograph of a white man framed in a recessed black oval frame. the man wearing a black suit top with a bow tie and checkered trousers. He is sitting in a chair facing slightly left. His right arm rests on a table.
Photographer Unknown, Portrait of Man With a Dog (daguerreotype, 1840s)
Image Source: The Metropolitan Museum of Art, Public Domain

 

A photograph of an outdoor scene. A white woman and four white girls are grouped centrally in the image, surrounded by various bushes. A large tree covered in ivy rises behind the figures. These figures are wearing long dresses, three of which appear to be identical dark dresses, with the rightmost child holding a hat in her hands. The woman is seated and wears a vertically striped light dress and holds a hat in her right hand resting on her lap. A child wearing a lighter dress stands at the back of the group holding a hat in her hands.
Franz Antoine, Seated Lady in Striped Dress with Four Little Girls
(Coated salted paper print from glass negative, 1850s and 1860s)
Image Source: Metropolitan Museum of Art, Public Domain

 

A photograph of a woman sitting on a chair against a painted backdrop of a nautical scene. The woman is wearing a long black skirt and a puffy white blouse. She is wearing round glasses and looks directly at the camera. the painted backdrop recreates the deck of a ship looking off towards open water in the distance with ships of various types traveling the across the horizon.
Photographer Unknown, Laura Holton Adams, grandmother of Alvin McCurdy (photograph, c.1900) Image Source: Archives of Ontario, Alvin D. McCurdy Fonds, Public Domain

 

Photographic portrait studios popped up in many towns and cities, including the city that Brock University is located in, St. Catharines Ontario.

The American Civil War (1861-1865) generated hundreds of photographs, including portraits of soldiers and family members waiting at home. The photograph below (a hand-coloured tintype) shows a young girl dressed in mourning clothes. She clutches a photographic portrait of her father who has been killed in the war. This image demonstrates the role of photography in mourning and remembrance, and is part of a large collection of photographs from this conflict.

 

A photographic portrait of a white girl sitting with her hands clasped on her lap. A photograph of a man is tucked just behind her hands. She is wearing a dark dress with short sleeves, and a necklace with a round decoration. She has a solemn expression and looks directly at the camera.
Unknown Photographer, Unidentified Girl in Mourning Dress Holding Framed Photograph of her Father (hand-coloured tintype, c.1861-1865) Image Source: Library of Congress, Public Domain

 

Self-Portraits and Selfies

 

A painting of a sitting African-American man. The man sits in a cluttered space, the unnatural geometry of the furnishings creates a frame around the figure. Behind the figure is a painting of two stylized faces. The man has dark hair and a moustache and wears a striped turtle neck sweater and dark trousers. Both of his hands rest on his legs, as he leans slightly forward.
Malvin Gray Johnson, Self-Portrait (oil on canvas, 1934)
Image Source: Smithsonian American Art Museum and its Renwick Gallery (CC0)

 

As discussed above, the image we chose to present of ourselves to the world is, in many ways, shaped by visual culture. For artists, self-portraiture can play an important part of this self-fashioning as they allow a further opportunity for artists to decide how they wish to be seen. There are many reasons why an artist might decide to make a self-portrait. It can be a way of showcasing their skill and talent, a way to seek recognition as an artist. This has been particularly important for women artists throughout history as they often had to fight to be taken seriously in a profession dominated by men.

 

A framed oil painting of three white women. One of the women is sitting on an upholstered chair, holding a palette and brushes, her body turned toward a large easel and canvas to the left. She is wearing a lavish long-sleeved blue dress with lacing around the neckline. Atop her intricately styled grey-brown hair is an ornate hat decorated with feathers. The other two women stand behind her, looking at the canvas. These two women are wearing long dresses adorned with lace, one brown and one white.
Adélaïde Labille-Guiard, Self-Portrait with Two Pupils [Marie Gabrielle Capet (1761–1818) and Marie Marguerite Carreaux de Rosemond (died 1788)] (oil on canvas, 1785) Image Source: The Metropolitan Museum of Art, Public Domain

 

For centuries women were excluded from life drawing classes, classes that provided art students the opportunity to learn to realistically draw the human figure by working with a nude model. In the British Royal Academy, for example, a petition was circulated in 1878 through which female students argued for the right to “study from the figure.”[1] Without the opportunity to learn to draw the human form in life drawing classes, many women artists used the only model they had available–their own bodies.

Self-portraits continue to give many artists a sense of empowerment today. For example, Canadian artist Quinn Rockliff turned to self-portraiture as a way to heal after a sexual assault. Australian artist Katie Brebner Griffin has a disability and lives with chronic pain. In interviews about her art she talks about the constant cycle of medical appointments and tests, and how she started making self-portraits because she “wanted to find a different way to engage with my body that didn’t involve having to tolerate something happening to it.” [2]

Today selfies are a big part of social media. While photographic self-portraits have been part of photography since the early days of the medium, the term “selfie” in our present-day usage tends to be reserved for images taken with the intent of sharing them on social media. In 2013 the Oxford Dictionaries selected “selfie” as their “word of the year,” a testament to their popularity as a form of visual culture.

A 2018 study noted a dramatic increase in interest in plastic surgery, specifically people who were embarrassed about the way their nose looked.  Further investigation revealed that this was due, in large part, to selfies. The close distance between the camera and a person’s face when making a typical selfie creates a sense of distortion in which a person’s nose can appear larger than it actually is. A typical distance between the face and camera in a selfie is 12 inches while a regular photographic portrait is often taken from a distance of about 5 feet away. This difference in distance has a dramatic effect on how a person appears in the resulting photograph.[3] Yet another reason to think critically about visual culture that surrounds us!

 

Reflection Exercise

Think about a self-portrait you have made (or a selfie you have taken). Spend 5-10 minutes free writing on it. If you don’t know what to write, the prompts below can help get you started.

  • What prompted you to make it? (an assignment? A new haircut?)
  • What did it look like? Be specific!
  • What did you include in the frame? What did you crop/edit out?
  • What was the process like? Did you have to use a mirror to paint it? Did you take dozens of photographs on your phone until you found one that you liked?
  • Did you share it with anyone? If so, how did people respond to it? If not, why did you decide to keep it private?

 

The Gaze

The concept of “the gaze” is significant when we consider the topic “representing ourselves, representing others.” The gaze as a theoretical and philosophical framework has been discussed by a wide range of scholars, including Jean-Paul Sartre, Michel Foucault, Jacques Derrida, John Berger, and Laura Mulvey. Essentially it refers to the power dynamics inherent in the way we look at and represent others.

So, what does that mean in practical terms? Here is a list of questions that can get us thinking about the concept of “the gaze” in visual culture:

  • Who is doing the looking? Who is being looked at? (note: this can apply to what is going on inside the frame of the image but it also can apply to the process of an external viewer looking at the picture)
  • Who was the image made for and why?
  • Does the person in the image have control over how they are presented? Do they have control over what happens to the image once it is made?
  • How does the imagery reinforce the relationships that exist between those who made the images and those who appear in the images? Is the subject of the picture treated as the equal of the person making the picture? How does the image convey this information?
  • Is there room for alternate interpretations?

 

A black and white photographic image of a young white girl. The figure is visible from the chest up, looking directly at the camera, lying back on a piece of furniture that is difficult to discern. Her hair is dark, and worn in long braided pigtails tied with light ribbon, resting on her shoulders. She is wearing a loose-fitting top that appears to be nightwear.
Alfred Stieglitz, Kitty (lantern slide, c.1908)
Image Source: Art Institute of Chicago, Public Domain

 

Alfred Stieglitz’s photograph of his daughter Katherine (Kitty) was taken when she was about ten years old. In this photograph she is clearly aware of being photographed by her father. She returns his gaze with what appears to be a bit of attitude. The relationship here is one between father and daughter–while they are not equals (Alfred the caregiving parent, Kitty the child) it is very likely Kitty had some agency and input in the process of making this photograph.

 

A black and white photographic image of a young woman standing on a sandy beach. The woman has a delighted expression on her face and is wearing a short dress with no sleeves, socks pulled up to her shins, and intricately laced shoes. She is leaning to the left, and holding a large box-style camera which is open, prepared to take a photograph.
Photographer Unknown, Myrtle Lind Posed With a Graflex Camera on a Beach (photograph, 1919) Image Source: Library of Congress, Public Domain

 

Likewise, in the image of Myrtle Lind above, she not only returns the photographer’s gaze but also “shoots back” with a camera of her own. Myrtle Lind was a film and theatre actor in the early 20th century and this could have been a promotional photograph. She is comfortable in front of the camera and is clearly aware her picture is being taken. Again, she would have been an active and willing participant in this photo shoot.

Compare this with Pissarro’s bathers below. These women do not appear to be aware that they are being looked at. They are engaged in the private act of bathing. They are unclothed and shown in a private space where they assumed they would not be observed. The dynamic of the gaze is very different here, even voyeuristic. The women in this picture appear to be unaware of being observed. While it is entirely possible that this scene was drawn from Pissarro’s imagination or that he had staged this scene with models, the resulting images convey the idea that the nude female body is meant to be objectified and gazed upon. This picture is part of a larger body of imagery that has reinforced this notion in Western culture over time.

 

A black and white illustration of an outdoor scene of two nude white women bathing in a pond. One of the women who is in the foreground is bent at the waist, her hands on her knees looking into the water below. Behind her and to the right is the other woman, who is sitting half-submerged, her back towards the viewer. The top half of the image contains the branches of tress and other plantlife.
Camille Pissarro, The Two Bathers (Drypoint, etching, and aquatint, with burnishing, in black on ivory laid paper, 1895) Image Source: Art Institute of Chicago, Public Domain

 

This kind of representation is often referred to as “the male gaze,” which assumes an image like Pissarro’s print above was created for the pleasure and enjoyment of a cis, straight male viewer. This has been challenged in recent years as we see artists pushing back against the male gaze. For example, comedian Hannah Gadsby has taken on the trope of the passive female nude in art with her documentary series called “Nakedy Nudes.”

There has also been a rise in scholarship suggesting alternate readings of images from art history to include approaches that consider the queer gaze. It is important to note, however, that visual culture offering alternatives to the dominant cis, straight male gaze have long existed. Many of Alice Austen’s photographs, for example, show her life as a lesbian and part of the LGBTQ2S+ community in New York State during the late 19th and early 20th centuries. Another example–and one that made headlines in the early 20th century–was Paul Cadmus’s painting called The Fleet’s In from 1934. It was considered so scandalous by the U.S. Navy that retired Navy General Admiral Hugh Rodman sent someone in to lift it right off the walls of the Corcoran Gallery. Today this painting is in high demand and is often on loan to galleries and museums, an excellent example of how the way an image is understood and valued can shift over time.

Tina M. Campt, a scholar at Princeton, has published several widely on the concept of the Black gaze, “a gaze that forces viewers to engage Blackness from a different and discomforting vantage point.” Through this framework there is both a sense of reclamation of the “uncomfortable Black visual archive” that has accumulated through generations of image making as well as a strong emphasis on “energizing and infusing Black popular culture in striking and unorthodox ways.”[4]

 

The Medical Gaze

A photographic image of a white woman holding a blurry out-of-focus pill box in her right hand towards the camera. In her left hand is a magnifying glass held up to her left eye.
Neil Tinning, Medical Investigation (undated digital photograph) Image Source: Wellcome Collection (CC BY-NC 4.0)

 

The “medical gaze” is a term used to describe the observations and representations of patients by doctors and other members of the medical profession.

Medical archives are full of images in which the conventions of portraiture have been adopted for the purposes of studying patients. While some of the information gleaned through these processes has undoubtedly been helpful in terms of finding cures and sharing information about various diseases, disabilities, and illnesses, from a patient perspective this can be a dehumanising process.

The colour image below was taken from a book called On lupus erythematosus; or Bat’s-Wing Disease published by Balmanno Squire in 1887. In that text he describes the medical history and treatment of the woman represented here, a 37 year old unnamed woman from Glasgow who was suffering from lupus erythematosus. According to his text, Squire was able to bring her some relief after years of suffering. In this context, the image included in the book portrays the woman as a patient, the subject of the medical gaze. She might very well have been pleased to get some help managing her disease. But this is not a portrait. The focus here is on her illness, and she would have had little control over how the image was made, used, or circulated.

 

A portrait illustration of a young white woman. The figure is looking to the right and has tied back short brown hair and wears a black top with lace decoration around the neckline. All over the figure's face are dark yellowish-brown patches of colour on her forehead, cheeks, nose and below her right ear.
Balmanno Squire, Colour Image from On lupus erythematosus; or bat’s-wing disease (1887) Image Source: Wellcome Collection, Public Domain

 

A black and white photographic portrait of a woman sitting against a dark fabric backdrop. She is smiling and has long brown hair, and is wearing a simple long-sleeved gingham dress. left arm rests on her lap, and her right arm is crooked, her hand resting on her hip.
Hugh Welch Diamond, Patient, Surrey County Asylum (Albumen silver print from glass negative, 1850-58) Image Source: Metropolitan Museum of Art, Public Domain

 

Hugh Welch Diamond was a 19th century doctor in who believed that photography was an important professional tool. Between the years 1848-1858, he photographed the patients of the Surrey County Asylum in England where he was a superintendent. He believed that a photograph could help him make connections between physical appearance and state of mind. This approach was influenced by a concept known as physiognomy, a now debunked “dubious science” that perpetuated harmful stereotypes about certain groups of people.[5]

Diamond’s belief in physiognomy was so strong that he was convinced that the photographs in his series image did not need further interpretation to be understood by a viewer, noting that “the picture speaks for itself.”[6] And yet as we consider this picture we are left with many questions. We can not glean information about this woman’s condition from the photograph, nor do we know her name or any other details about her. Again, this is an example of an image made in the context of the “medical gaze.” This woman did not have the freedom to represent herself in the way she might like–even her clothing is institutional, a uniform worn by other women in Diamond’s photographs.

While the theories that informed Diamond’s approach to photography are no longer seen as a valid or legitimate way of assessing patients, there is still much work to be done in terms of the representation and inclusion of people living with disabilities and illness in our world today.

Art and other creative practices can be an important outlet and form of expression for people living with illness and disability. For example, Bryan Charnley was a British artist who turned to art to help him deal with his struggles with schizophrenia. His work is now part of the Wellcome Collection.

 

An oil painting of the interior of a domestic dwelling. The baseboard of the single white wall divides the image from the bottom left corner to the top right. On the muddy green carpeting, a television displays a white screen near the centre of the image, and an album cover rests just to its left. Toward the bottom of the floor is the edge of a table, on which rests a metal basket with a single large piece of orange fruit inside of it, and two smaller pieces resting outside. To the left of the table is two birds one black and one white. the birds resemble featherless chickens and circle each other in what appears to be a fight. On the wall hangs a framed image at the top of the painting, the corner of which is just visible. To its left is an open window with white drapes. the legs of a figure, wearing green tights, is stepping out of the window.
Bryan Charnley, Leaving by the Window (oil on canvas, c.1987)
Image Source: Wellcome Collection (CC BY-NC 4.0)

 

The art world is slowly becoming more inclusive of artists with disabilities and illnesses, although ableism still presents significant challenges and barriers for many. There are a number of organisations that foster opportunities for expression and representation beyond the limiting confines of the medical gaze. For example, Tangled Art + Disability in Toronto aims “to support disability-identified artists, to cultivate Disability Arts in Canada, and to enhance access to the arts for artists and all audiences,” and The Willow Art Community in St Catharines “fosters safe spaces for creative exploration and connections for people with living experience of mental illness or substance use in Niagara.”

 

Reflection Exercise

  1. Read Circe Henestrosa’s article for the Fine Arts Museums of San Francisco called “Frida Kahlo’s Construction of Identity: Disability, Ethnicity, and Dress” from March 2020.
  2. How do some of the concepts from this chapter apply to Henestrosa’s analysis of Frida Kahlo’s life and art? Spend 10-15 minutes reflecting on these connections through a freewriting session.

 


  1. Amy Bluett, “Victorian women and the Fight for Arts Training, Royal Academy (March 2, 2021 https://www.royalacademy.org.uk/article/striving-after-excellence-victorian
  2. Katie Brebner Griffin, “As a disabled woman, my self-portraits help me reclaim my body,” ABC Everyday/Australian Broadcasting Corporation https://www.abc.net.au/everyday/self-portraits-help-me-reclaim-my-body/102472960
  3. Brittany Ward, Max Ward, Ohad Fried, and Boris Paskhover, “Nasal Distortion in Short-Distance Photographs: The Selfie Effect,” JAMA Facial Plastic Surgery Vol. 20, no 4 (July/August 2018): 333-335.
  4. [Tina M. Campt, “How Black Artists Are Shaping a Distinctly Black Gaze,” Hyperallergic (August 22, 2021): https://hyperallergic.com/671547/how-black-artists-are-shaping-a-distinctly-black-gaze-tina-m-campt/]
  5. Sarah Waldorf, “Physiognomy, The Beautiful Pseudoscience,” The Getty Museum Blog (October 8, 2012): https://blogs.getty.edu/iris/physiognomy-the-beautiful-pseudoscience/
  6. Mary Warner Marien, Photography a Cultural History, London: Laurence King (2006), p37

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Look Closely: A Critical Introduction to Visual Culture Copyright © 2023 by J. Keri Cronin and Hannah Dobbie is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.