{"title":"An Introduction to Aldo Rossi’s “Autobiographical Notes, Etc.”","authors":"M. Casciato","doi":"10.1086/721987","DOIUrl":"https://doi.org/10.1086/721987","url":null,"abstract":"Aldo Rossi’s manuscript, titled “Autobiographical Notes, Etc.” and dated December 1971, is held with his papers in the special collections of the Getty Research Institute in Los Angeles. Writing on both recto and verso sides of seven small sheets of laid paper, the author takes stock of his life at age forty. In the manuscript, Rossi reexamines some fundamental moments in his development as an architect. In particular, both his encounter with Ernesto Nathan Rogers, who had invited him to join the editorial staff of the journal Casabella continuità when Rossi was just over twenty years old, and his enduring friendship with Carlo Aymonino mattered more to his development than his years as a student and instructor at the Politecnico di Milano. The urgency behind Rossi’s manuscript is found in a series of events from 1971, two of which were dramatic: a serious automobile accident and his suspension from university teaching for political reasons. At the end of this bitter year, he felt the need to rethink the choices that he had made up to that point. The result was a wide-ranging confession that constitutes a direct precursor to the publication, ten years later, of his book A Scientific Autobiography (1982).","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"119 - 136"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46258537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Three States of the Architectural Fragment as a Collective Archive of Concepts: Tracing an Alternative Genealogy of Aldo Rossi’s Analogous Cities","authors":"I. Angelidou","doi":"10.1086/721988","DOIUrl":"https://doi.org/10.1086/721988","url":null,"abstract":"This article scrutinizes the persistent preoccupation with fragments in the work of Italian architect Aldo Rossi. Two heretofore overlooked volumes of his Quaderni Azzurri (blue notebooks) from the special collections of the Getty Research Institute are deployed as a point of departure in order to unpack the analogies Rossi draws between archaeology and conceptualization in architecture. His observations on three approaches to restoration, which correspond to Olympia and the two radically diverse Minoan Palaces of Knossos and Phaistos in Greece, are analyzed as three distinct states of the architectural fragment. The states are paralleled with interconnected projects that Rossi developed sequentially over the course of a decade—namely, the two iterations of La città analoga (The analogous city) exhibited at the Milan Triennale (1972) and the Venice Biennale (1976) as well as a contribution to the exhibition Roma interrotta (1978)—to delineate an architectural genealogy informed by a collective archive of concepts.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"137 - 168"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47993392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Visualizing Martial Mothers, Eagle-Women, and Water Warriors in the Florentine Codex","authors":"Joshua Fitzgerald","doi":"10.1086/721984","DOIUrl":"https://doi.org/10.1086/721984","url":null,"abstract":"Military histories of the Spanish invasion of Tenochtitlan (1519–21), home to the Mexica-led Triple Alliance (or so-called Aztec Empire), have primarily focused upon men and their armories, often juxtaposing ironclad Spaniards against Nahua opponents dressed as Eagle and Jaguar Warriors. Indigenous women appear to lack this battle garb, known by specialists as military “devices” (tlahuiztin in Nahuatl), unlike precolonial depictions of warrior matriarchs and precolonial records showing women as unruly community defenders. This study challenges assumptions about Nahua material culture through critical engagement with a key source in Nahuatl studies, the sixteenth-century Florentine Codex, an encyclopedic collection consisting of “three texts”: the original Nahuatl, an accompanying Spanish translation, and thousands of illuminations created by Nahua scholar-artists. By utilizing ethnolinguistic and visual analytic methodologies, this essay reveals an inextricable link between Nahua women’s maternity, maturation, and martial ability in conventional and supernatural warfare.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"41 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44911391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Capturing the Void: Michael Light’s Aerial Photographs of the American West","authors":"S. M. Farmer","doi":"10.1086/721989","DOIUrl":"https://doi.org/10.1086/721989","url":null,"abstract":"In 2017 and 2018, the California-based photographer Michael Light went to the Great Basin, allegedly one of the emptiest places left in the continental United States, in search of the void. He returned with striking and aesthetically pleasing images of a desert that is far from empty. Working collaboratively with his colleagues at Radius Books, Light realized the series and photobook Lake Lahontan / Lake Bonneville (2019). In this work, Light employs the unique combination of aerial perspective and photographic abstraction to capture images of the Great Basin that challenge our perception of empty spaces, the desert, and the American West. Light’s images emphasize the paradoxical effect of humans on the environment while leaving space for interpretation. The work opens the viewer to larger questions about the impact all humans have on the earth, inevitably prompting viewers to recognize their own role in the process.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"169 - 193"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49448564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Ongoing Translation of the Getty Art & Architecture Thesaurus® into Portuguese: An Art Information Access and Retrieval Tool for Cultural Institutions in Portuguese-Speaking Countries","authors":"Camila da Silva","doi":"10.1086/721991","DOIUrl":"https://doi.org/10.1086/721991","url":null,"abstract":"Developed by the Getty Vocabulary Program, the Art & Architecture Thesaurus® (AAT) is a tool for cataloging and indexing works of art and other cultural objects. It was begun in 1979 by a group of librarians who needed specific art terms for cataloging art information. In the early 1980s, the AAT was incorporated into the Getty Art History Information Program. Originally comprising only English terms, it has become more inclusive over the years through translation into other languages, including Portuguese. The first Portuguese translation project began in 2016; the second project began in 2020 and was made possible through the Getty Graduate Internship Program. These AAT translation projects facilitate the access and retrieval of art collection information by Portuguese-language users around the world.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"209 - 225"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43467216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Ethnology as an Epic”: The Modern Cinema of Edward S. Curtis and the Kwakwa̲ka̲’wakw","authors":"Aaron Glass, Brad Evans, Colin Browne","doi":"10.1086/721985","DOIUrl":"https://doi.org/10.1086/721985","url":null,"abstract":"In 1914, the American photographer Edward S. Curtis released the first feature-length silent film to star an entirely Indigenous cast. In the Land of the Head Hunters—an epic melodrama of love, war, and ritual—was made with Kwakwa̲ka̲’wakw (Kwakiutl) people on location in British Columbia. Curtis then worked with artists and musicians in New York to frame it as commercial entertainment. This interdisciplinary essay explores an inherent tension in Curtis’s landmark film between his reliance on Western aesthetic references (classical literature, orchestral music, fine and popular art), and his efforts to be taken seriously as an ethnographer. Neither pure artistic fiction nor anthropological “documentary,” Head Hunters emerged in an intermediate zone of popular culture during the early twentieth century. Curtis and his Kwakwa̲ka̲’wakw partners mobilized both European and Indigenous mythologies, aesthetics, and theatrical traditions to make a shared contribution to that quintessentially modern art form—the motion picture.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"67 - 90"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49592042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El Lissitzky and the Biocentric Project “1=1”","authors":"C. Castellani","doi":"10.1086/721986","DOIUrl":"https://doi.org/10.1086/721986","url":null,"abstract":"This article retraces the sources that influenced the ideas that Russian artist El Lissitzky held about the encounter between human beings and nature during his stay in Europe in the early 1920s. Notes and private correspondence held in the Special Collections of the Getty Research Institute detail an interest in Austro-Hungarian biologist Raoul Heinrich Francé’s concepts from Die Pflanze als Erfinder (1920; Plants as Inventors, 1923) and Bios: Die Gesetze der Welt (1921; Bios: The laws of the world), along with other new sources that relate to the philosophical debate around Albert Einstein’s special and general theories of relativity. A close reading of these sources and Lissitzky’s interest in them enables a reconsideration of what Oliver A. I. Botar describes as Lissitzky’s “biocentric turn” and the artist’s closely connected book project “1=1.”","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"91 - 118"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47017741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Traces of History: Hippolyte Bayard’s Photographs of the 1848 Revolution","authors":"M. Denton","doi":"10.1086/718877","DOIUrl":"https://doi.org/10.1086/718877","url":null,"abstract":"The aims of this study of four photographs by Hippolyte Bayard that were taken in Paris between 1848 and 1850 are twofold. One objective is to provide the historical details necessary to understand the ways in which the images engaged with events of the 1848 Revolution. The other is to bring attention to how photography’s contribution to the historical record differs from that of other visual media such as paintings, prints, and drawings. The fact that the photograph denoted a temporal specificity put Bayard in the unique position of being able to evince the transitional and ephemeral nature of the 1848 Revolution that so many of his contemporaries remarked upon.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"43 - 66"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48659898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Style from Below in the Roman Empire: A Bust of a Matron at the J. Paul Getty Museum","authors":"E. D'ambra","doi":"10.1086/718875","DOIUrl":"https://doi.org/10.1086/718875","url":null,"abstract":"The portrait bust of a Roman matron in the J. Paul Getty Museum (79.AA.118) belongs to a type of sculptural portraiture whose features are distinguished from those of the leading imperial women of Rome. Dating to the first half of the second century CE, this group of portraits of Roman matrons, mostly unidentified women of the middle-lower social ranks, displays striking depictions of mature faces and elaborate hairstyles. Close study of the coiffures suggests ways in which the women differentiated themselves from their peers while demonstrating that they belonged to the social group of urban, affluent, and well-appointed matrons. Their portraits neither copied nor entirely disregarded the styling of imperial or elite women; rather, they suggest a process of exchange in which motifs were selected, sampled, and altered through scale, arrangement, or the evocation of more precious adornment.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"1 - 24"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46989179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Amazonia by Maria Martins: A Journey between Geography and Anatomy","authors":"María Clara Bernal","doi":"10.1086/718881","DOIUrl":"https://doi.org/10.1086/718881","url":null,"abstract":"Brazilian artist Maria Martins (1894–1973) published the book Amazonia in 1943 as part of her exhibition New Sculptures at the Valentine Gallery in New York. Although the book featured photographs of some of the sculptures in the show, there are reasons to believe that it was not simply intended to function as an exhibition catalog. Instead, Amazonia can be regarded as a work in its own right, a textual and visual construction that unfolds the significance of the exhibited sculptures beyond their most salient features and themes. Drawing on information from archival material and a copy of the original book held at the Getty Research Institute library, this article explores Martins’s book, which brings together elements of geography, history, and anatomy to convey a vision of Brazil as her own imaginary territory.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"15 1","pages":"133 - 152"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43931679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}