Konsthistorisk tidskrift/Journal of Art History最新文献

{"title":"Reframing the Concept of Illustration: Image, Text, and the Double Difference of Reproductive Media","authors":"Sonya Petersson","doi":"10.1080/00233609.2020.1823470","DOIUrl":"https://doi.org/10.1080/00233609.2020.1823470","url":null,"abstract":"In order to reframe the conventional bimedial (textual and pictorial) concept of illustration, this study examines illustrations and their textual and pictorial elements from the point of view of the medium of reproduction – which includes present-day digital photography as well as nineteenth-century xylography. The study investigates two nineteenth-century illustrated texts, the Swedish literary review Vår tid and the 1845 edition of Jacques Cazotte’s novel Le Diable amoureux. Both provide examples of how nineteenth-century xylography transmits the images it reproduces into new textual containers, be it illustrated journals or books. The argument made is that the concept of illustration, rather than denoting a bimedial object, is better understood as an ever-changing medial and semiotic function where the medium of reproduction enters between the image and text pairing in two particular ways. Firstly, by the way the traces after varying technologies of reproduction are manifested in the picture and take on semiotic functions in relation to textual and pictorial elements. Secondly, by the way the image, due to its medium of reproduction, is enabled to travel between different containers and thus to enter into new relationships with new textual elements. These two aspects constitute what I term the double difference of reproductive media. In developing this argument, the present study discusses multidirectional transfers of content between image and text, pictorial quotation as a type of metaphorical rather than a technological reproduction, and how the place assigned an ‘original’ is occupied by an anterior reproduction.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126354459","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":"The Game of Chance: Marcel Duchamp’s Large Glass and Nineteenth-Century French Political Caricatures","authors":"Gal Ventura","doi":"10.1080/00233609.2020.1819869","DOIUrl":"https://doi.org/10.1080/00233609.2020.1819869","url":null,"abstract":"The Bride Stripped Bare by Her Bachelors, Even (1915–1923), also known as The Large Glass, is one of Marcel Duchamp's most complex works and has elicited a wealth of scholarly suggestions as to its meaning and sources of inspiration. Nevertheless, although it is recognized that Duchamp’s early practice as a maker of cartoons paved the way for an oeuvre replete in wit and wordplay, the inspiration Duchamp drew from well-known French caricatures received almost no attention. To fill this void, the present article proposes that The Large Glass was based on the caricature A New Game of Rings, issued by Charles Vernier on the eve of the 1848 presidential elections for the Second Republic. Upon close inspection, Vernier's satirical cartoon suggests not only the composition of The Large Glass, but also themes that are central to Duchamp’s oeuvre: games, absurdity, and hilarity; chance, whether uncontrolled or controlled; and the dichotomy between male and female, reality and idea. Moreover, the political scenario presented in the mid-nineteenth century caricature had considerable relevance for the situation of the Third Republic when Duchamp created his work. Thus the tragicomedy of the Bride and her Bachelors represented in The Large Glass may be said to epitomize the changing relationship between Marianne – the female personification of the Republic – and the French people during the turmoil of the First World War.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126336467","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":"Cover – title page","authors":"","doi":"10.1080/00233609.2020.1816061","DOIUrl":"https://doi.org/10.1080/00233609.2020.1816061","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123972415","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":"The European Avant-Gardes, 1905-1935: A Portable Guide","authors":"David Cottington","doi":"10.1080/00233609.2020.1789735","DOIUrl":"https://doi.org/10.1080/00233609.2020.1789735","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116734592","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":"Winckelmann’s Depreciation of Colour in Light of the Querelle du coloris and Recent Critique","authors":"Lasse Hodne","doi":"10.1080/00233609.2020.1788636","DOIUrl":"https://doi.org/10.1080/00233609.2020.1788636","url":null,"abstract":"Summary Johann Joachim Winckelmann (1717–1768) has traditionally been praised as a pioneering Hellenist whose important studies on ancient Greek and Roman sculpture influenced generations of students in various academic fields, ranging from classical philology to archaeology and the history of art. From the late eighteenth century to the early twentieth century, Winckelmann’s important books on ancient art were generally assessed positively. Since the interwar period, however, opinions have been more divided. A new tendency arose in the 1930s, when some critics pointed to Germany’s over-exposure to Greek culture and focus shifted to authoritarian regimes’ abuse of Winckelmann’s classicist aesthetics. Since the 1980s, it has also been common to see his ideas as prefiguring the rise of racism in nineteenth century Europe. But is the dominant contemporary view of Winckelmann misunderstood? In this article I seek to show that some of Winckelmann’s statements concerning the use of colour in art – which some have used as evidence that he preferred white skin to dark – were actually part of a quite different debate. In my view, they must be seen as belonging to a discussion that had its origins in the Italian controversy on disegno and colorito and reached its climax with the French Querelle du coloris of the seventeenth century.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115127610","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":"King Mob: A Revolutionary Anti-Art Criminal Community (1968–1970)","authors":"David A. J. Murrieta Flores","doi":"10.1080/00233609.2020.1775288","DOIUrl":"https://doi.org/10.1080/00233609.2020.1775288","url":null,"abstract":"Summary King Mob was a British avant-garde born from the dissolution of the English section of the Situationist International. Having inherited the latter’s revolutionary, heterodox Marxism, King Mob approached the relationship between aesthetics and politics as one which fundamentally alluded to the creation of a new society. Instead of such a task being left to the proletariat, King Mob theorized the activation and emergence of the lumpenproletariat as the new subject of history, and thus configured their collective as the vanguard of a new kind of revolution. Thus, they saw in an aestheticization of criminal activity the correct political path towards liberation, attempting to create a community centerd on the disruption of capitalist processes as much as on the destruction of conventional understandings of art. This essay will overview the collective’s origins in the Situationist International and its development into King Mob, studying how its discourse was made concrete in the images and texts of its magazine, King Mob Echo, which was meant for mass distribution.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124156434","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":"The Resurrected Christ Appearing to His Mother in Late Medieval Netherlandish Altarpieces","authors":"R. Bø","doi":"10.1080/00233609.2020.1770856","DOIUrl":"https://doi.org/10.1080/00233609.2020.1770856","url":null,"abstract":"Linked to the thirteenth century devotional text Meditationes Vitae Christi, visual representations of the Resurrected Christ Appearing to His Mother appear in Italian manuscripts, either of the Meditationes itself or in other devotional treatises around 1300. The epitome of the motif, however, is probably the depiction in the right panel of the Miraflores Triptych, painted by Rogier van der Weyden in Bruges in the 1440s. Previously virtually unnoticed in art historical scholarship, the motif re-appears in Netherlandish carved altarpieces made c.1480–1530. The earliest occurrence seems to be in the form of a minor sculpted scene in the Brussels altarpieces now known as Strängnäs I, yet its more common inclusion is as a painted scene on the inside of the small upper wing to the viewer’s right. Without dismissing the effects of patronage, commissions and the circulation of models, I will argue for the inclusion as partly resulting from artists’ increased partaking in religious reading due to the dissemination of Vita Christi literature in the Netherlands. As it were, however, the motif appears proportionally more frequent in the altarpieces imported to Scandinavia than elsewhere, allowing for discussions about the iconographical program in altarpieces made for export and the possibility of the appreciation of the scene in the north is to be traced not to Vita Christi-literature in general, but to the encounter between mother and son as referenced in the visions of St Birgitta.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123194252","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":"ToC","authors":"","doi":"10.1080/00233609.2020.1792170","DOIUrl":"https://doi.org/10.1080/00233609.2020.1792170","url":null,"abstract":"","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"115 1","pages":"iii - iii"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141216939","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":"A Farewell to Critique? Reconsidering Critique as Art Historical Method","authors":"Sara Callahan, A. Hällgren, Charlotta Krispinsson","doi":"10.1080/00233609.2020.1786159","DOIUrl":"https://doi.org/10.1080/00233609.2020.1786159","url":null,"abstract":"While discussing the topic for this special issue of Journal of Art History, we were told to hurry. Suggesting alternatives to critique, we were further told, is already yesterday’s news. Has, in fact, so called post-critique itself “run out of steam”? Does the ambition to decentre critique – which is, perhaps, a more accurate way of putting things – implicate a de-politization of our scholarly activity? Is it anti-theory, endangering studies on race, class and gender? Does it call for a newness which itself is “a symptom of the neoliberalization of the humanities”? These are legitimate questions. However, we are convinced that a continued, careful reflection about what we as academics do when we apply critical methods – in particular while doing it seemingly automatically – is not only necessary but, in times of economic, social and environmental challenges, essential. As the authors in this issue demonstrate, exploring alternatives to critique has the potential to build lasting approaches to some of our most pressing common concerns. Thus, we want to pause and ponder what we consider to be a both complex and urgent topic, not only for our own work as art historians, but one that also has implications far outside the university setting. The topic for this special issue was conceived as a continuation of a discussion already underway between scholars from various disciplines who have voiced concerns about the way critique is currently practiced in the academy. Two of the most vociferous and frequently cited in this discussion are Rita Felski and Bruno Latour, who in different texts have offered their takes on the limits and dangers of critique. Their concern is with critique understood broadly as hermeneutics of suspicion. This mode of critical thinking hinges on a sense that a text by necessity entails clues or symptoms of hidden meanings and ideologies that an initiated scholar is able to unveil by a detached close-reading “between the lines”. Paul Ricoeur tied it to a mode of analysis represented by Nietzsche, Marx and Freud, but its prehistory goes at least as far back as the Enlightenment. Today it has become a vital part of analytical tools established and refined in academia for decades. Traditional disciplines have developed methods based upon critical theory, but this body of thought has also contributed to the establishment of entirely new academic disciplines such as gender and postcolonial studies, to name only two. In the ongoing discussion about the limits and problems with critique, the term is used as a collective marker for a whole range of approaches. Despite the many and significant differences, the broad attitude, mode and rhetoric of critique is in fact remarkably similar across different disciplines and subject matters. One of the issues is that in many academic milieus, critique in this broad sense is considered the expected method of approaching cultural objects.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126810581","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":"Decentralize! Art, Power, and Space in the New York Art World","authors":"Adrian Anagnost","doi":"10.1080/00233609.2020.1758205","DOIUrl":"https://doi.org/10.1080/00233609.2020.1758205","url":null,"abstract":"Have we witnessed the return of critique in the U.S. art world? Taking the decentralization of art institutions as a tactic of critique, this paper identifies waves of critique in the contemporary art world, with particular attention to New York City in the late 1960s-early 1970s, and the 2010s. Though certain critical aims and strategies have persisted, this period spans an impassable divide: the end of affordable space – for artist studios, galleries, community art centers – in the urban cores of U.S. cities. By attending to changes in the ways artists have withdrawn from, attacked, or engaged with institutional spaces, this article traces the changing definitions of critique and criticality as a function of access to space.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129012574","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}