ABSTRACT
Chapter 1 surveyed verbal class analyses of visual art works, while Chapter 2 described various theoretical developments which have brought about change both within and between the two sides of that ‘equation’ during the last twenty years: change in the relationships between image and text, theory and practice, sociology and art, author and topic of analysis, ‘art’ and ‘non-art’ visual representation. We have reached a point in this story at which critique relating to visual representation may draw on a pluralist, localised, minority groupbased yet generally Marxist-informed approach to cultural representation; where image and text are no longer necessarily kept apart, where socio-political theory and visual art practice may be seen as two sides of the same coin, and so on. There follows an account of The Pavilion at Leeds, where some of the tendencies outlined in the previous chapter have been further developed in a practical context.
