Ultimately, what modern iconography teaches us is that history is a prism from which we cannot escape. Art, and the study of its meaning, ultimately situates us within this prism and helps us connect the past with the present, while also paving the way towards a future conception of meaning in the visual realm.
Works Cited
Bal, Mieke and Norman Bryson. "Semiotics and Art History: A Discussion of Context and Senders," 1991. Reprinted in Preziosi, Donald, ed. The Art of Art History: A Critical Anthology. Oxford: Oxford University Press, 1998.
Carvajal, Rina. "Mapping Out the Self: The Work of Guillermo Kuitca." Guillermo
Kuitca. Rotterdam: Witte de With, 1990.
Goldberg, Vicki. "It's a Leonardo?...
Retrieved on Nov. 15, 2007 at http://query.nytimes.com/gst/fullpage.html?res=9406EED61639F936A1575AC0A96E958260#.
Panofsky, Erwin. Meaning in the Visual Arts. Harmondsworth: Penguin Books, 1955.
Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York: Harper & Row, 1962.
Storr, Robert. "Felix Gonzales-Torres: Etre un espion." Art Press (January 1995): 24-32.
Panofsky 1955, p. 51-58.
Panofsky 1962, p. 171-212.
Storr 1995, p. 26.
Carvajal 1990, p. 9.
Goldberg 1998.
Bal and Bryson 1991, 242.
