Stedelijk Studies Journal最新文献

{"title":"“Frame Me”: Speaking Out of Turn and Lorraine O’Grady’s Alien Avant-Garde","authors":"Stephanie Sparling Williams","doi":"10.54533/stedstud.vol003.art15","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art15","url":null,"abstract":"Eight years before the art world would become meaningfully integrated with the exhibits of David Hammons and Adrian Piper, and ten years before Coco Fusco and Gómez-Peña’s controversial performance Two Undiscovered Amerindians, American artist Lorraine O’Grady (born 1934 in Boston) staged a series of alien invasions on New York art spaces as the now notorious Mlle Bourgeoise Noire (Miss Black Middle-Class). The first time this persona appeared was at Just Above Midtown (JAM) during one of O’Grady’s first public performances in 1980. Dressed in an extravagant debutante-style gown made with one hundred and eighty pairs of white gloves, O’Grady shouted at her predominantly black audience as she ceremoniously whipped herself with a cat-o’-nine-tails spiked with white chrysanthemums:","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130596391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Typo: Images = represented FORM","authors":"Z. Ivanova","doi":"10.54533/stedstud.vol003.art18","DOIUrl":"https://doi.org/10.54533/stedstud.vol003.art18","url":null,"abstract":"Crkcrk 1 week ago The cameraman was doing well to fap without jiggling the camera.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"PP 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126425301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Blinking brains, corporate spectacle, and the Atom Man","authors":"F. Lysen","doi":"10.54533/stedstud.vol002.art06","DOIUrl":"https://doi.org/10.54533/stedstud.vol002.art06","url":null,"abstract":"In 2011, Museum Boijmans Van Beuningen in the Netherlands presented the Beauty in Science (Schoonheid in de Wetenschap) exhibition, a show that aimed to foster interest in the natural sciences among the general public. It did so not by focusing on the economic or social effects of scientific research, but by emphasizing the “pleasing” aesthetic experience of looking at scientific images. Impressive pictures of cells, fungi, fetuses, and stars were framed as wonderful (by-)products of scientific missions, and as attractive signboards for an important quest to “make the invisible visible.”[2] Staged within the walls of the white cube, over seven hundred scientific images thus became purged from their individual histories of production and argumentation, and arranged to foreground the formal qualities of the visualizations, some of which could be viewed from lounge chairs, supplemented with ambient sound. The framework of the art museum was understood as the perfect context for the intended discursive emphasis on formal aesthetics. As such, Beauty in Science reminds us that, still today, art museums have not ceased to play a role in the presentation of a particular “image of science” to large audiences, and that the discursive space of the art museum offers opportunities for constructing, subverting, advertising, and obscuring narratives of science. While the exhibiting of images of science within the walls of art museums has a long history, this article turns to one particular historical exhibit in the Stedelijk Museum to offer insights in the way such presentations are embedded within historically situated ideas about the public understanding of science, exhibition strategies, and the role of art vis-à-vis science.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116221322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Documenting the Marvelous: The Risks and Rewards of Relying on Installation Photographs in the Writing of Exhibition History","authors":"M. Kennedy","doi":"10.54533/stedstud.vol002.art05","DOIUrl":"https://doi.org/10.54533/stedstud.vol002.art05","url":null,"abstract":"Many of the exhibitions which have in recent years been heralded as “exhibitions that made art history,” such as those included in Bruce Altshuler’s two-volume study of the same name,[1] have been recognized as such on the strength of photographic evidence. Among the best-documented exhibitions discussed by Altshuler was the 1938 Exposition Internationale du Surréalisme, organized by Marcel Duchamp, André Breton and Paul éluard for the Galérie Beaux-Arts in Paris. The exhibition showed the work of Surrealist stalwarts including Salvador Dalí and Man Ray, as well as a host of less well-known artists with an affiliation to Surrealism. As shrewd self-publicists, the Surrealists were characteristically savvy in using photography to ensure the legacy of their radical exhibitions. Consequently, there is a wealth of images, which art historians and exhibition studies scholars such as Altshuler, Lewis Kachur and Alyce Mahon have since used to advocate the significance of these exhibitions. In turn, this scholarly attention has reasserted the Surrealists’ canonical status in art history.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132179311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Exhibition History and the Institution as a Medium","authors":"Stefano Collicelli Cagol","doi":"10.54533/stedstud.vol002.art03","DOIUrl":"https://doi.org/10.54533/stedstud.vol002.art03","url":null,"abstract":"The recent debate on the relationship between histories of exhibition and art history tends to consider the former as supplementary to the latter. While it is certainly not the case that art history of the second half of the twentieth century should be reduced to a history of exhibitions—given the variety of contexts in which artists have operated—exhibition histories should likewise not be addressed only to enrich art historical narratives, or be selected according to their relationship to an art historical canon. In fact, exhibition histories provide critical tools to approach history in itself: by revealing cultural debates of the past, they help retracing histories of ideas; their expanded field highlights the connections between art and other realms, such as commerce, and they reveal politics and policies of an institution, stressing the latter in order to create a narrative to understand the present and imagine the future.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127901165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modes of Making Art History","authors":"Maria Bremer","doi":"10.54533/stedstud.vol002.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol002.art08","url":null,"abstract":"As art history further questions its fundamentals, the exhibition format continues to lose its neutrality. In the preface to the second volume of his compendium, Biennials and Beyond – Exhibitions that made art history: 1962–2002, Bruce Altshuler leads the increasing interest by art historians for exhibitions back to the insight that “exhibitions bring together a range of characters, who, exercising varied intentions in diverse circumstances, generate so much of what comes down to us as art history.”[1] However, the academic rewriting of selected shows is itself subjected to norms which, given their canonizing effects, must be taken into consideration. This article does not intend to question the art historical study of exhibitions tout court. Rather, it criticizes the selection of case studies according to a logic of masterpieces while excluding exhibitions which are regarded as not having made art history. In fact, the different modes by which exhibitions can shape art history require further analysis, eventually casting new light on events which have not hitherto entered the canon of relevant shows.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125676799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reconstructing Cold War Cultural Diplomacy Exhibitions","authors":"J. McComas","doi":"10.54533/stedstud.vol002.art07","DOIUrl":"https://doi.org/10.54533/stedstud.vol002.art07","url":null,"abstract":"As museum and exhibition histories have become significant subjects of art historical investigation in recent decades, museums themselves have subjected some of the most groundbreaking and controversial exhibitions of the twentieth century to reevaluation through elaborate reconstructions. These restaged exhibitions can shed new light on the shifting boundaries of the canon, question long-accepted art historical interpretations, and provide insight into the intersection of art and politics. Restaged exhibitions, however, are not simply exercises in historical research, but often serve as commentary on contemporary issues. A relevant example is the 1991–1992 exhibition ‘Degenerate Art’: The Fate of the Avant-Garde in Nazi Germany, a reconstruction of the 1937 Nazi propaganda exhibition Degenerate Art.[1] Organized by the Los Angeles County Museum of Art, the restaged exhibition introduced late-twentieth-century American audiences to the cultural censorship practiced by the Third Reich at a time when the withholding of federal funding for controversial art was being hotly debated in the United States.[2] It also helped to revive interest in the issue of Nazi art looting, which is now a major subject of research within European and North American museums. Reconstructed exhibitions also focus attention on how and why certain art forms have become canonical. This was the case with the New-York Historical Society’s 2013 exhibition The Armory Show at 100: Modern Art and Revolution, a partial reconstruction of the 1913 International Exhibition of Modern Art.[3] Better known as the Armory Show, this exhibition, held in New York City in February and March 1913, is lauded for introducing European avant-garde art to American audiences and setting the stage for its eventual entry into the canon in the United States. The majority of critics in 1913, however, condemned the Armory Show, perceiving the fauvist and cubist works on display as anarchic, ugly, and even immoral. Revisiting the exhibition a century later allowed for reflection on our changing artistic preferences as new forms of art transition from shock-inducing to canonical. As Ken Johnson of the New York Times noted in his exhibition review of October 10, 2013, “now that the Cubists and the Fauves are museum-certified old masters, it takes some imagination to comprehend what made the Armory Show such a controversial sensation.”","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130949022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial","authors":"L. Boersma, Patrick van Rossem","doi":"10.54533/stedstud.vol002.art01","DOIUrl":"https://doi.org/10.54533/stedstud.vol002.art01","url":null,"abstract":"In 2010, Afterall Publishers launched a series of exhibition histories wholly devoted to the study of landmark exhibitions.[1] The aim was to examine art in the context of its presentation in the public realm. In this way, research into art history shifted from the artistic production of one individual artist to the context of the presentation, and to the position, views, and convictions of the curator. In the introduction to the book, published in 2007 with its contextually pertinent title, Harald Szeemann: Individual Methodology, Florence Derieux stated: “It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions.”[2] Not everyone agrees with this, however. For example, art historian Julian Myers justifiably criticized this statement when he wrote that the history of art and exhibitions are inextricably linked.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129401834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Curatorial Expeditions: The Ramallah Safari","authors":"T. Sherwell","doi":"10.54533/stedstud.vol001.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol001.art08","url":null,"abstract":"The last twenty-five years have witnessed significant transformation in the geopolitics of Palestinian art.[2] From the outset, we need to consider a definition of Palestinian art by recognizing that it is not art that is specifically created in one place, but that, owing to the history of dispossession and diaspora, Palestinian artists can be found all over the world. Therefore, Palestinian art necessarily starts from multiple sites of enunciation and is inevitably influenced by site and location. As Stuart Hall suggests, “identities are the names we give to the different ways we are positioned by, position ourselves within, the narratives of the past.”[3] For the purposes of this paper, I will mainly be focusing on the art of Palestinians from the Occupied Territories, while touching on the production of artists based in various other locations around the globe. I will first provide some context to the development of art practices, before specifically going on to speak about curatorial practices in relation to how the work of Palestinian artists is curated by international curators.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116509734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between the Global, National, and Peripheral: The Case of Art Museums in Poland","authors":"Karolina Golinowska","doi":"10.54533/stedstud.vol001.art07","DOIUrl":"https://doi.org/10.54533/stedstud.vol001.art07","url":null,"abstract":"The issues of cultural production and its institutions usually involve the broader context of analysis that is followed by discussion on globalization in general. This is because the consequences of globalization exerted a profound impact on the art world’s structures. Criticism of modernity, introduced by proponents of postcolonial discourse, revealed the imperial inclinations of European cultural policies. According to these analyses, the history of cultures emerged as the history of exclusions that were the final result of promoting cultural diversity in a strictly Eurocentric way.[1] Therefore, international recognition belonged only to those artists born in the West, with their white, Christian citizenship. However, as the art world was expanding, it directed its attention towards other, more obscure cultural contexts, yet refused to perceive them as equal. This issue has been analyzed in-depth through postcolonial writings as a matter of orientalizing non-European cultures.[2] The aforementioned context would actually help to define globalization as a process that deconstructs the modernistic paradigm and undermines the legitimacy of museums cultivating the myth of primitive cultures. The critical relevance of the process would also reveal itself in terms of museums of modern art that have ignored works by artists from Eastern Europe or South America in the past.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130040053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}