The hooded bandit -- The national bank -- The epidermal examination -- The mother's trouble -- The danger zone -- The spectre -- Your fantasy, my crime.

Paolo Cirio presents the three series of works Attention, Property, and Derivatives in his solo show Images Rights at NOME Gallery in Berlin. The exhibition Images Rights expands upon Cirio's concept of Internet Photography, with a particular focus on the economic, legal, and semantic values of photos circulating online. These Cirio's works explore modes of appropriation art to address the political economy of images. Rather than authorship, these artworks problematize the ownership, liability, and social responsibility of the production and distribution of photos on the Internet. The series Attention, Property, and Derivatives each examine, respectively: images as currency of the attention economy, images as capital, and images as finance.

Examines the film industry's fascination with bondage and captivity.

Rome was an empire of images, especially images that bolstered their imperial identity. Visual and material items portraying battles, myths, captives, trophies, and triumphal parades were particularly important across the Roman empire. But where did these images originate and what shaped them? Empire of Images explores the development of the Roman visual language of power in the Republic in Iberian Peninsula, the Gallic provinces, and Greece and Macedonia, centering the development of imperial imagery in overseas conquest. Drawing on a range of material evidence, this book argues that Roman imperial imagery developed through prolonged interaction with and adaptation by subjugated peoples. Despite their starring role in Roman imagery, the populations of Rome’s provinces continuously reinterpreted and reimagined Roman images of power to navigate their membership in the new imperial community, and in doing so, contributed to the creation of a universal visual language that continues to shape how Rome is understood.

In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects--painting, drawing, photography, and printmaking--to the vast array of "nonart" images, including those from science, technology, commerce, medicine, music, and archaeology. Such images, James Elkins asserts, can be as rich and expressive as any canonical painting. Using scores of illustrations as examples, he proposes a radically new way of thinking about visual analysis, one that relies on an object's own internal sense of organization.Elkins begins by demonstrating the arbitrariness of current criteria used by art historians for selecting images for study. He urges scholars to adopt, instead, the far broader criteria of the young field of image studies. After analyzing the philosophic underpinnings of this interdisciplinary field, he surveys the entire range of images, from calligraphy to mathematical graphs and abstract painting. Throughout, Elkins blends philosophic analysis with historical detail to produce a startling new sense of such basic terms as pictures, writing, and notation.

"" "Images: Critical and Primary Sources" is a major multi-volume work of reference that brings together seminal writings on the image. Taking an interdisciplinary approach, the essays range across the domains of philosophy, history, art, aesthetics, literature, science, anthropology, critical theory and cultural studies. The essays reveal a wide set of perspectives, problematics and approaches, helping to frame a rich, encompassing view of what we can broadly term 'image studies'. The four volumes are arranged thematically, each separately introduced and with the essays structured into specific sections for easy reference. Volume 1: Understanding Images establishes conceptual, historical, ideological and philosophical framings for understanding and defining the image; followed in Volume 2: The Pictorial Turn with a focus on the most enduring and constitutive question of the image: its relationship to, with and against text and textuality. Volume 3: Image Theory offers representative materials covering key theoretical approaches for analyzing, interpreting and critiquing the image. Finally, Volume 4: Image Cultures examines a wide range of social and cultural contexts of the image, which covers aspects of visual evidence, image and memory, visual methodologies, scientific imaging and the practical engagement of image-makers. "Images: Critical and Primary Sources" offers a major scholarly resource for any researchers involved in the study of the image and visual culture.

Examines the film industry's fascination with bondage and captivity.