ART JOURNAL最新文献

{"title":"Destigmatizing Art History","authors":"E. Chambers","doi":"10.1080/00043249.2022.2148973","DOIUrl":"https://doi.org/10.1080/00043249.2022.2148973","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"81 1","pages":"5 - 7"},"PeriodicalIF":0.5,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44996617","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":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043249.2022.2148975","DOIUrl":"https://doi.org/10.1080/00043249.2022.2148975","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.5,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49521458","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":"When Images in Haiti Fail: The Photograph of Charlemagne Péralte","authors":"Emilie Boone","doi":"10.1080/00043249.2022.2133309","DOIUrl":"https://doi.org/10.1080/00043249.2022.2133309","url":null,"abstract":"ABSTRACT In 1919, the US Marines took a staged photograph of the recently killed insurgent Charlemagne Péralte in order to impede other oppositional fighters during the US Occupation of Haiti. Local viewers interpreted the reproduced and circulated photograph of Péralte crucified to a door as a sign of his martyrdom and strength. While scholars most often turn to Philomé Obin’s circa 1970 painting Cruxification de Charlemagne Péralte pour la Liberté to discuss the generative possibilities of the photograph, I return my attention to the photograph and the earlier context of its making, display, and distribution. Turning back to the visual field of the photograph and its moment allows for distinctive insight. Specifically, my interest lies in what happens when images in Haiti during the US Occupation failed to operate as intended by the Marines. It explores how the contours of this kind of failure become a site for reinterpretation. I privilege examples of how Haitians assert their engagement with the visual by focusing on descriptions, responses, and references to images. Doing so enlarges one’s perception of aspects of the visual that are not built, painted, or made by Haitians but, as I argue, were seen and reinterpreted by some of the country’s early twentieth-century marginalized viewers for their own benefit.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"81 1","pages":"106 - 125"},"PeriodicalIF":0.5,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45608142","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":"Family Tensions","authors":"Daniel R. Quiles","doi":"10.1080/00043249.2022.2110426","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110426","url":null,"abstract":"Arlene Dávila’s Latinx Art: Artists, Markets, and Politics concludes with a “Noncomprehensive List of Artists Everyone Should Know,” which includes some 150 contemporary Latinx practitioners (177–88). Elizabeth Ferrer’s Latinx Photography in the United States: A Visual History is structured like a list throughout, with loosely chronological chapters that proceed photographer by photographer (many of whom are also artists) like an exhibition catalog. The books share eighteen names in common, as well as the same presupposition that many are unfamiliar to the reader. As Ferrer notes, “I have striven to include as many historic photographers as possible to help fill gaps in our understanding of the scope of contributions made by Latinx individuals to the medium” (xii). For both Ferrer and Dávila, Latinx art and photography are challenged not merely by restricted access—to museums, art markets, canons, and even “Latin American art” itself—but by amnesia as well. Ferrer provides an accessible introductory resource to Latinx history and culture as refracted through a particular medium and its proponents. Dávila has crafted something else entirely; Latinx Art is only nominally art history. An anthropologist by training, her research is premised on “interviews with artists, curators, gallerists, and other stakeholders of the contemporary art circuit” whose perspectives are interwoven with Dávila’s own excoriation of the pre-COVID-19 art world for its exclusion and “whitewashing” of Latinx artists (2). The subfield of Latinx art history thus arrives with its own debates in full swing. Both books necessarily reflect on terminology and define the vexed ethnoracial category “Latinx,” which first trended on Google in 2004 as a nonbinary iteration of “Latina” or “Latino.”1 The latter were originally short for latinoamericana/o (Latin American), but Ferrer, following the term’s conventional usage, defines “a Latinx person as one who resides in the United States and whose family roots can be traced to a Spanish-speaking country in the Americas”(ix). She does so to eschew,","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"81 1","pages":"119 - 122"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49364729","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":"Joan Logue’s Newly Rediscovered and Digitized Words, 1–5","authors":"Helena Shaskevich","doi":"10.1080/00043249.2022.2110445","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110445","url":null,"abstract":"Abstract This essay examines Joan Logue’s newly rediscovered and digitized video, Words, 1-5 (1971-4). While providing a close formal reading of Logue’s piece, this note resituates the work within the context of video art in the 1970s, arguing that the tape illustrates Logue’s nascent interests in marrying video’s capacity for portraiture with commercial pop culture, and marries those interests with her own emerging feminist consciousness. As such, the tape provides new context for an early experimental period of Logue’s oeuvre, before she would merge the video’s capacity for intimacy and mass-media broadcast in some of her most famous works in the 1980s. Finally, this essay argues that Logue’s Words, 1-5 serves as a reminder of the need to preserve the significant, yet often neglected contributions of female artists to the early histories of video art which are increasingly on the verge of disappearing as analog tapes are lost or disintegrate.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"81 1","pages":"88 - 97"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42404470","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":"A Tale of Two Exhibitions","authors":"E. Chambers","doi":"10.1080/00043249.2022.2110757","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110757","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":" ","pages":"5 - 7"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45029002","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":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043249.2022.2110765","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110765","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47031355","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":"Spatial Orders for the Masses","authors":"F. Lara","doi":"10.1080/00043249.2022.2110425","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110425","url":null,"abstract":"activism, [and] climate sensing techniques” (8). This expansion reverberates with other recent scholarship such as Heather Houser’s Infowhelm: Environmental Art and Literature in an Age of Data (Columbia University Press, 2020), which frames data visualizations and climate predictions as matters of aesthetics and speculation—that is, as humanistic, not just technoscientific, endeavors. Further, contributors to the Companion insist that art and visual cultures have a unique role to play in an era of climate crisis. For one thing, while “nobody can feel average temperatures,” Schneider argues that art “can make this and other ways of perceiving the climate crisis possible” (264, emphasis in original)—given its general capacities to “sensitize[e] us, or mak[e] us more sensitive, to the world around us” (149). Sara Mameni agrees, calling the “aesthetic act” “a configuration of experience that can create new modes of sensory perception, induce new forms of political subjectivity, and anticipate futures, that is, build other possible worlds” (93). Many others echo the latter part of that sentiment; the editors offer the premise that “the world-altering emergency of climate breakdown demands the emergence of new imaginaries, social formations, and societal organizing principles” (385, emphasis in original) and Issa concludes that “art and visual culture are where questions of futurity are best imagined and explored” (102). Beyond art’s capacities to sense, sensitize, and speculate, this collection articulates more specific functions. “I want to build the capacity to handle complex environmental, internal, and spiritual situations,” artist Simpson declares to Horton—to make humans feel “empower[ed]” and capable of “adapt[ing]” (317). Kanouse reflects on her performance art practice as “a process of trying one thing, and then another, evaluating the result, and then trying again”; such “practices of experimentation, iteration, and improvisation,” she asserts, are “necessary to move through the impasse of climate change” (162). Such takes are optimistic, even instrumentalist. But at least one contributor is concerned about the opposite: that much contemporary art and visual culture in the era of climate crisis entails the proverbial fiddling while the world (literally) burns. “Why make an installation about refugees being stuck at the border when you could design tools to cut through the fences?” John Jordan demands in another memorable, controversy-stoking chapter (390). I therefore wondered at first why he bothered to write this essay instead of designing such tools, but the answer soon becomes clear. Living in an autonomous “Zone to Defend” outside Nantes, France, which has been occupied for several years by activists opposing the construction of a new airport, Jordan sees himself as answering Michel Foucault’s call for an “art of living”: “When you no longer outsource your problems and needs, everyday life goes from being unthinking automatic behavior,","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"36 12","pages":"116 - 118"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41267205","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":"Director's Letter","authors":"Meme Omogbai","doi":"10.1080/00043249.2022.2110756","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110756","url":null,"abstract":"I am honored and delighted to be taking up the directorship of the Program in Medieval Studies in the new year. I want to thank Anne D. Hedeman for her dynamism and collegial-ity as director during the last three years. The programs of events for each year now archived on our website (www.medieval.uiuc.edu) reflect the richly varied interests of our members and a stream of distinguished visitors from around the world. Anne D. was key to the establishment of the program. It was she who drew together a bunch of us to compete for one of the seven exchanges that Illinois approved with France's Centre National de la Recherche Scientifique in 1998. (The Program in Medieval Studies was the only humanities group to be funded. Our exchange was so successful that it was renewed for two years beyond the initial three.) This collaboration inspired us to work together to apply for official recognition as a Program with a graduate certificate. Then Stephen Jaeger came to be our first director in 2001, and in his wake new colleagues joined us in Classics, History, English, and Architecture. Anne D. has sustained the momentum generated six years ago. I owe a great debt to Charlie Wright for generously agreeing to act as director during the fall semester. He has accomplished an amazing amount for the program, organizing a high profile international conference for next fall on \" Translating the Middle Ages, \" drafting bylaws, initiating a proposal for an undergraduate minor in medieval studies—all of this besides teaching two courses and editing JEGP! Going forward, we hope to develop our undergraduate course offerings, build links with other programs on campus, strengthen exchange programs, and further increase our visibility on the national and international scenes. I look forward to continuing the work that Anne D. and Charlie have done.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":" ","pages":"4 - 4"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46593911","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":"Devil’s Promenade","authors":"Lara Shipley, Antone Dolezal","doi":"10.1080/00043249.2022.2110443","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110443","url":null,"abstract":"","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":"81 1","pages":"98 - 113"},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43167260","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}