METROPOLITAN MUSEUM JOURNAL最新文献

{"title":"The Vélez Blanco Patio and United States–Cuba Relationships in the 1950s","authors":"Tommaso Mozzati","doi":"10.1086/718035","DOIUrl":"https://doi.org/10.1086/718035","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44872314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Facsimiles, Artworks, and Real Things","authors":"Rebecca Capua","doi":"10.1086/718038","DOIUrl":"https://doi.org/10.1086/718038","url":null,"abstract":"collections in the late nineteenth and early twentieth centuries, largely due to developments in photomechanical print processes, and in keeping with the progressive mission assumed by museums in the United States and Europe after the First World War. At the same time, conservative criticism of that democratizing tendency in the arts fomented considerable controversy over the inclusion of facsimiles in exhibitions. In recent years, scholarly attention has been paid to the role of plaster casts in the formation of many of the museums of this period. Less examined are facsimile works on paper, which made up a significant portion of The Metropolitan Museum of Art’s early collection, along with other reproductions of works that were unattainable in the Facsimiles, Artworks, and Real Things","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47059442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Talismanic Imagery in an Ethiopian Christian Manuscript Illuminated by the Night-Heron Master","authors":"Kristen D. Windmuller-Luna","doi":"10.1086/718040","DOIUrl":"https://doi.org/10.1086/718040","url":null,"abstract":"best protection against the challenges of life. But in a world threatened by demons, beasts, and everyday misfortune, sometimes words of prayer need amplification. A manuscript of the ˀÄrganonä Maryam (The Organ of Mary, አርጋኖነ፡ማርያም) (fig. 1) now at The Metropolitan Museum of Art is a rare example of an Ethiopian Orthodox Christian prayer book that combines religious words with talismanic imagery. The text is written in Gəˁəz (ግዕዝ), an AfroAsiatic Semitic language used in the Horn of Africa since at least the fifth century B.C. Also known as Ethiopic, Gəˁəz remains the liturgical language of the Ethiopian Orthodox Täwah �ədo Christian Church. Different layers of religious protection intermingle in this book, blending the powers of word and image. Talismanic Imagery in an Ethiopian Christian Manuscript Illuminated by the NightHeron Master","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Buddhism and Silk: Reassessing a Painted Banner from Medieval Central Asia in The Met","authors":"Michelle C. Wang, Xin Wen, S. Whitfield","doi":"10.1086/712767","DOIUrl":"https://doi.org/10.1086/712767","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712767","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42728286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Carmontelle’s Telltale Marks and Materials","authors":"Margot Bernstein","doi":"10.1086/712777","DOIUrl":"https://doi.org/10.1086/712777","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712777","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48008095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Bat and Two Ears and Jusepe de Ribera’s Triumphant Virtue","authors":"V. Farina","doi":"10.1086/712776","DOIUrl":"https://doi.org/10.1086/712776","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712776","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48523497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Illustration Credits","authors":"","doi":"10.1086/712779","DOIUrl":"https://doi.org/10.1086/712779","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712779","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43815984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“The Toughest, Meanest Art I Was Making”: Edward Ruscha’s Books","authors":"Douglas Eklund","doi":"10.1086/712770","DOIUrl":"https://doi.org/10.1086/712770","url":null,"abstract":"ed the famous 20thCentury Fox logo so that it represented both interior (darkened movie house) and exterior (night sky) through a diagonal projection of light dividing the navy blue background and the perspectival spray of ruled lines culminating in the epically scaled red lettering before yellow floodlights—the opening credits of spectacle culture rendered in arthistorically overloaded primary (techni)colors. Also that year, Ruscha alluded to the modernist chromatic tabula rasa in Annie (fig. 3) by combining two visual structures from the same historical moment and opposite ends of the ideological spectrum. With his 1921 suite of monochrome canvases (Pure Red Color, Pure Yellow Color, and Pure Blue Color), Aleksandr Rodchenko heralded the artist’s abandonment of painting via works that would serve as the backdrop for the construction of the new collective subject. Ruscha perversely conjoins this Productivist farewell to bourgeois art with the redheaded waif Little Orphan Annie (1924), the first true mass superstar of the funny papers and plucky ingenue (rescued and raised by the benevolent tycoon Daddy Warbucks), who was so famous in her day that even now the Goudy Heavyface typeface used in the strip’s logo metonymically stands in for “The Twenties.” With his typically bemused, pokerfaced wit, Ruscha consigns the seemingly antithetical projects of modernity in their supposedly opposing guises—the Janus face of communism and comics— to the same fate.6 T W E N T Y S I X G A S O L I N E S TAT I O N S The first thing Andy [Warhol] said when he saw my book—I gave him Twentysix Gasoline Stations—was “How do you get all these pictures without people in them?” In 1962, Ruscha painted two words in yellow—WAR and SURPLUS—on a navy blue field, the first larger and centered, the second below, squeezed in and smaller, and rendered in a variant of the aggressively instrumentalized “ArmyNavy” serif type that the artist also used for the cover of that first book, Twentysix Gasoline Stations, published in January 1963 in an edition of four hundred copies (figs. 4, 5).8 Judging from the cover, Ruscha’s book looks more instructional manual than livre d’artiste, showing what it says it does in casually composed snapshots taken on the old Route 66 that the artist regularly drove from Los Angeles to his hometown of Oklahoma City.9 More than the other fifteen books that followed, Twentysix Gasoline Stations seems to have often invited critical wrong turns over the last four decades. Perhaps the most persistent of these is its relationship to the tradition of the photographic book, particularly as it had developed since the 1930s. Twentysix Gasoline Stations did appear at a particularly significant moment in that history. Walker Evans’s seminal American Photographs was republished by the Museum of Modern Art in 1960, and an expanded edition of James Agee’s and Walker Evans’s Let Us Now Praise Famous Men also came out, both of which had enjoyed a semiunderground status","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712770","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48049929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"An Ode to James Van Der Zee: Lorna Simpson’s 9 Props","authors":"Emilie Boone","doi":"10.1086/712771","DOIUrl":"https://doi.org/10.1086/712771","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712771","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45851047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Domesticated Partners: A New Analysis of a Sumerian Vessel","authors":"Bailey E. Barnard","doi":"10.1086/712772","DOIUrl":"https://doi.org/10.1086/712772","url":null,"abstract":"","PeriodicalId":42073,"journal":{"name":"METROPOLITAN MUSEUM JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/712772","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41800470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}