{"title":"The hidden Mod in the New Art History","authors":"T. Crow","doi":"10.1086/711039","DOIUrl":"https://doi.org/10.1086/711039","url":null,"abstract":"2. E. and J. de Goncourt, Mémoires de la vie littéraire (Paris, 1956), 1:835, trans. and quoted in T. J. Clark, The Painting of Modern Life: When, during the 1970s, it became possible to talk about a New Art History, the term carried an implicit allusion to art of a particular place and time. The place was Paris; the time was the second half of the nineteenth century; the art in question represented the data of contemporary life to the exclusion of older subjects like myth and religion. The city exerted a spell, making the urban transformations of its core and periphery somehow exemplary of how modern life was to be lived. And, by extension, art that qualified as modern needed to have drawn both its subject matter and its sensibility from the same phenomena. Older distinctions between Realism, Impressionism, and Post-Impressionism in nineteenth-century French art became less salient, the rubric “Modern Life” encompassing their shared territory. That usurpation entailed a shift in definition from particulars of painterly style to what older art historians had sequestered in their discipline under the heading of “iconography,” in other words, characteristic subject matter bearing coded cultural meaning. So it was not just a matter of opulent boulevards or weekend leisure as objects of description; it was a different way of life betokened by such innovative urban and suburban pastimes. For guidance as to the coded meanings of the modernizing city, certain commentators, often dyspeptic ones, offered eloquent testimony. Especially favored were the writers Edmond and Jules Goncourt, who wrote in their singular voice about the disquiet they experienced at the changes around them. In one passage from their journal (November 18, 1860), they reacted with almost apocalyptic alarm at the colonization of central public thoroughfares by open-air cafés and the lingering, loitering crowds they attracted (fig. 1):","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"276 - 293"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711039","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45481679","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":"Copying in clay","authors":"Mallory E. Matsumoto","doi":"10.1086/704762","DOIUrl":"https://doi.org/10.1086/704762","url":null,"abstract":"When Maya artisans began molding and stamping hieroglyphic writing in clay, they were deviating from centuries of scribal tradition. In contrast to the copious texts that they and their peers had been painting, incising, carving, or modeling by hand for generations, their ceramics introduced mechanically replicated text into Mesoamerica centuries before the first European printing press and represented its only application to an indigenous, nonalphabetic script. With the aid of a preform—a stamp or mold inscribed with hieroglyphs— artisans could for the first time generate copies of a text without themselves having towrite it, or even understand it. But the unusual history of this practice raises more questions than it answers, particularly when examined from a perspective informed by recent centuries of industrialization and increasingly proliferating massreproduction technologies (Matsumoto 2018). Although its origins and early generations of use remain murky, Maya hieroglyphic writing was in use by the Late Preclassic period (ca. 400 BCE–100 CE; see Saturno et al. 2006). Ceramic seals and stamps date to even earlier, first attested in Mesoamerica beginning in the Middle Preclassic (ca. 1100–400 BCE; see Causey 1985, 12–18; Halperin 2014, 6). During the Early Classic era a few centuries later (ca. 250–550 CE), Maya potters adopted molding and stamping technologies, sometimes even combining them to preform clay stamps (e.g., Yde 1936, 36). It was not until the Late Classic period (ca. 550–830 CE), however, that hieroglyphic writing was initially created in this manner. This raises the first question: why did Maya artisans integrate the","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"52 - 63"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/704762","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48447817","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":"Reexamining “uniformity” at Teotihuacan","authors":"Sarah C. Clayton","doi":"10.1086/704621","DOIUrl":"https://doi.org/10.1086/704621","url":null,"abstract":"As North America’s largest city during the first half millennium CE, Teotihuacan stands out in many ways. Its growth in the northeastern Basin of Mexico transformed the immediate area into a bustling, urban landscape marked by grand monuments, and the surrounding region into a political territory subject to a powerful state. A key part of this trajectory was the development of a complex economy entailing the circulation of goods within the city and along networks that linked surrounding communities. It is highly likely that Teotihuacan had a thriving market system that included neighborhood-scale and large, central marketplaces (Clayton 2015b; Millon 1973; Sullivan 2006). Many of the durable goods that were used in household contexts at Teotihuacan were mass-produced in large workshops. Some of these were centrally located (Cowgill 2015; Múnera Bermúdez 1985); others were embedded within residential neighborhoods across the city and on its suburban margins (Cabrera Cortés 2011; Gómez Chávez 1996; Millon 1973). The prolific use of molds in ceramic production made it possible to expediently create virtually identical vessels, masks, figurines, and ornaments. Mass production in the context of a market economy meant that countless “copies” of objects could be widely distributed to households across the city and in outlying communities. These circumstances would have resulted in considerable","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"16 - 24"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/704621","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45691807","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":"How to enter image-space","authors":"Wolfram Pichler","doi":"10.1086/706931","DOIUrl":"https://doi.org/10.1086/706931","url":null,"abstract":"In art history, we are concerned with artefacts, some of which are considered to be “works of art” in a more specific sense. We want to know why artefacts look the way they look, what they mean and how. Since many artefacts are—or include—images, we are also interested in questions concerning the making, meanings, and uses of images. My current focus is on the theory of images, a field of research located at the common border of art history and philosophy and therefore marginal to both disciplines. This essay is more specifically about pictorial space or “image-space,” as I shall call it. Image-space is a very common and well-known phenomenon. If we are confronted with an unfolded scroll of paper with marks of ink and paint on it (fig. 1), and tell others we see part of a coast with cliffs and trees and houses, bordering the wide expanses of sea and sky, then this is an example of image-space. But image-space need not be vast and deep. Take this painted page of parchment containing the first word of the gospel according to St. Matthew, liber (fig. 2). The initial letter seems to have opened its thighs to give birth to a tendril. Would you agree that the beginnings and ends of this elastic L are fastened to the ornamental frame by means of golden ribbons? And at the many points where these ribbons cross, would you say that one part runs over the other, so that one is above, the other beneath? Would you also say that the bare parchment inside the ornamental frame and around the initial can be seen both as an opaque plane of inscription and as some kind of opening? Then this is another example of image-space, even if it is so shallow","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"325 - 332"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706931","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47939853","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":"Modeling, models, and knowledge exchange in early modern Japan","authors":"C. Guth","doi":"10.1086/707114","DOIUrl":"https://doi.org/10.1086/707114","url":null,"abstract":"This essay reflects on the historical and cultural contingency of the model both as an analytical category and as a material thing in the context of Japan, with particular reference to its role in diverse forms of knowledge exchange in the early modern era, a period roughly coinciding with the rule of the Tokugawa shoguns from 1603 to 1867. It is intended as a brief intervention, not an encyclopedic survey of this complex and understudied subject. Models exist in many forms in Japan, both twoand three-dimensional, but also embodied, and have operated within multiple and sometimes overlapping social and cultural processes that constructed their codes, values, and uses. Their study is complicated, however, by the fact that neither their forms nor the language used to refer to them have remained constant across historical periods, raising fundamental questions about what constituted a “model” in the early modern era. Mokei, for instance, which most closely approximates the English term “model,” is a modern coinage that gained currency in the late nineteenth century in response to the practical need for a classificatory category for the reduced-scale models of historic buildings that became fixtures in the international expositions in which Japan participated. These were primarily ethnographic specimens that made visible the distance between Japanese and Western architectural materials, techniques, and styles. The word mokei replaced an older term, hinagata, which was commonly applied to models of many kinds, but especially printed books that enjoyed wide circulation from the seventeenth century featuring pictorial models of fashionable garment designs. Yet","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"253 - 264"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707114","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43553945","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":"Truth from fiction","authors":"Nathaniel B. Jones","doi":"10.1086/706208","DOIUrl":"https://doi.org/10.1086/706208","url":null,"abstract":"2. For which see, e.g., R. L. Gordon, “The Real and the Imaginary: Production and Religion in the Greco-Roman World,” Art History 2 (1979): 5–34; R. T. Neer, “Connoisseurship and the Stakes of Style,” Critical Inquiry 32 (2005): 1–26; E. Marlowe, Shaky Ground: Context, Connoisseurship, and the History of Roman Art (London, 2013); A. H. Borbein, “Connoisseurship,” in The Oxford Handbook of Greek and Roman Art and Architecture, ed. C. Marconi (Oxford, 2014), 519–40. 3. See recently C. Isler-Kerényi, “Iconographical and Iconological Approaches,” in Marconi, Oxford Handbook, 558–78. The quest for origins","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"229 - 240"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/706208","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43972389","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":"Against primitivism","authors":"Risham Majeed","doi":"10.1086/704389","DOIUrl":"https://doi.org/10.1086/704389","url":null,"abstract":"When the sculptor Jacques Lipchitz was newly arrived in New York from Europe during World War II, he spent an evening in Dr. Schapiro’s company. The talk turned to the great collections of tribal art in the Musee de l’Homme in Paris, and in particular to a piece that he had especially admired. To help Lipchitz recall it, Dr. Schapiro took a sheet of paper and drew, from memory and to scale, not only the piece in question but every other piece that had been in the case with it some years before. He did not see this as anything out of the ordinary.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"295 - 311"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/704389","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42703152","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}
Luisa Elena, Ken Moser, Khaled Malas, Alfred Tarazi
{"title":"Books received November 2018–October 2019","authors":"Luisa Elena, Ken Moser, Khaled Malas, Alfred Tarazi","doi":"10.1086/707129","DOIUrl":"https://doi.org/10.1086/707129","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"71-72 1","pages":"349 - 351"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707129","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45994374","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}
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