Lecture date: 2001-01-24
Sharon Lockhart’s films deal with power relations in the visual field: racism, clinical diagnosis, discipline, neo-colonialism. Immobilising structures of the gaze are critiqued but also dissolved through Lockhart’s manipulation of attention and focus. In the real-time conditions of viewing, dominant modes of sight break up into minute acts of attention, a swarm of points that reconfigure the film work in terms of openness, randomness, flux.
Norman Bryson was formerly Fellow and Director of Studies in English at King’s College, Cambridge. At the University of Rochester he was the first Director of the newly formed PhD program in Visual and Cultural Studies. He was professor of art history at Harvard from 1990 to 1998, before becoming Chair of the PhD program in Visual and Theoretical Studies at the Slade School of Fine Art, University College London. He has published widely in the areas of eighteenth-century art history, critical theory, and contemporary art.
