Frances Guerin’s book is a finely curated labour of love. For a book on visual culture, this is saying something since there are already so many books about this field. However, what distinguishes her book from the others is the fact that she is dealing with ‘not looking’ rather than ‘looking’. The book consists of 11 essays that are divided into 4 pertinent sections, covering diverse topics such as painting, a piece of film which was part of an investigation into homoeroticism in Ohio in the 1960s, sculpture and photography. Drawing on her own scholarship about images and the Holocaust, Guerin presents the motivation for this collection of essays by stating that ‘in light of the immense power given to images by destroying them, together with the weaving of images into political governance and everyday life, we need to find new ways of approaching images and icons’, new ways of ‘recasting notions of contemporary iconoclasm as well as expanding its conception, with the goal of further understanding its ramifications’ (pp. 2–3).

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评论：Frances Guerin (ed.), On Notlooking: The Paradox of Contemporary Visual Culture

Frances Guerin 的书是精心策划的爱情作品。对于一本关于视觉文化的书来说，这是在说些什么，因为已经有很多关于这个领域的书了。然而，她的书与其他书的不同之处在于，她处理的是“不看”而不是“看”。这本书由 11 篇文章组成，分为 4 个相关部分，涵盖了不同的主题，例如绘画、一部作为 1960 年代俄亥俄州同性恋调查的一部分的电影、雕塑和摄影。凭借自己关于图像和大屠杀的学术研究，Guerin 阐述了这本论文集的动机，她指出“鉴于通过摧毁图像而赋予图像的巨大力量，以及图像被编织到政治治理和日常生活中，