Semiotics for Beginners

SEMIOTICS (study of signs, logos, & and; pictograms) 

General theories of signs are called semiotics. Semiotics is the investigation of apprehension,prediction and meaning: how it is that we apprehend the world, make predictions, and develop meaning. Chandler's book & web link above gives a very thorough overview of the study of signs & symbols and their use or interpretation. 

Semiotics for Beginners 
http://visual-memory.co.uk/daniel/Documents/S4B/
Semiotics explained by wikipedia

The Rhetoric of Image

ROLAND BARTHES IMAGE MISIC TEXT, ‘The Rhetoric of the Image’ 
The Three messages:

1^st: LINGUISTIC / written language, caption, emblem, code What language? What is significant there?

2^nd: ICONIC / pure image Denotation/connotation: Ask what are the signifiers (objects, props, etc.)? What are they denotation / connotating?

3^rd: NON CODED ICONICMESSAGE / relation between signifiers

Panzanni Advertisement discussed in reading from Roland Barthes, IMAGE MISIC TEXT.

VIDEO: Barthes and a quick description of the deconstructive system

VIDEO: Barthes and the Philosophy of Image
VIDEO: Signification by Kyle Harmon

Kara Walker & Pictorial Truths

Kara Walker at the Walker Art Center
Kara Walker on Art21  
http://www.art21.org/texts/kara-walker/interview-kara-walker-the-melodrama-of-gone-with-the-wind

Forest of Signs

A Forest of Signs: Art in the Crisis of Representation
More about the 1989 exhibition at MOCA
Arttsts whose work relate to this topic:
Barbara Krugar
Jenny Holzer
Art & Language
Joseph Kosuth

Geoff McFetridge

See more of his work at Champion Studio

Iconography and Iconology

Andy Warhol, The Last Supper

Introductory video to: Iconography

Erwin Panofsky's explanation of Iconography and Iconology.

For Panofsky the study of art objects and images could be systematized into three levels.

The first was simple identification through familiarity. Looking at a painting of an historical battle scene, for example, we can only identify and name weapons such as crossbows with which we are familiar, although we can readily understand the expressions of pain and anguish on the faces of wounded soldiers. Panofsky explained such divisions as factual and expressional. Factual and expressional apprehension will vary greatly, depending on experience. Obviously, an expert on ancient weaponry will identify a great variety of motifs; just as viewer with experience of battle might react very differently to those without such experience.

The second dealt with the domain of iconography. That is: the linking of artistic motifs with themes, concepts or conventional meaning. For example, at this level a Renaissance image of a man struck in the eye with an arrow from a crossbow might be apprehended beyond its horrific expressional value as representational of, or an allegory for, the power of linear perspective. Such recognition would be made possible because of a knowledge of Renaissance treatises on perspective and similar or related images.

The third, most contentious level of interpretation was iconological. At this deepest level, the intrinsic meaning or content of the work was apprehended. It is worth quoting Panofsky directly here as he explains this intrinsic meaning.

Learn more about Erwin Panofsky on wikipedia.

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