Abstract

Using a semiotic approach, this study offers an alternative to traditional conceptions of image making, exploring historical interpretations of art, perspective, and photography, as well as individual artists such as Duchamp and Rembrandt. Presents the conventionalist hypothesis on interpretation of images, then rejects the notion that conventions have a special priority in the understanding of images, and critiques specific images and their conventionalist definitions. Annotation copyrighted by Book News, Inc., Portland, OR.