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Pressing Buttons: Kodak, Advertising Psychotechnics, and the Politics of Graphic Design, c. 1915 按下按钮：柯达、广告心理技术和平面设计政治学，约 1915 年
IF 0.3 2区 艺术学
Art History Pub Date : 2024-08-08 DOI: 10.1093/arthis/ulae016
Jennifer A Greenhill
{"title":"Pressing Buttons: Kodak, Advertising Psychotechnics, and the Politics of Graphic Design, c. 1915","authors":"Jennifer A Greenhill","doi":"10.1093/arthis/ulae016","DOIUrl":"https://doi.org/10.1093/arthis/ulae016","url":null,"abstract":"\u0000 This essay focuses on a print advertising campaign that the Eastman Kodak Company launched in 1912 to promote the services of studio photographers. Examining period conceptions of mental picturing, the social and racial dimensions of design, and print media as an extension of the scientific laboratory, I argue that the open layouts of the series establish consumer imagination as the fundamental advertising apparatus. By reconceiving what the print advert could do, and sacrificing illustration in the layout so that a more personal and powerful impression could emerge, Kodak’s advertising department made the advert a thought machine every bit as complex as the company’s most advanced imaging technologies.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141926096","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}
引用次数: 0
Monumental Ephemera: British Sculpture in the Arctic, Icebergs in London, an Inuit Map 纪念性简历：北极的英国雕塑、伦敦的冰山、因纽特地图
IF 0.3 2区 艺术学
Art History Pub Date : 2024-07-26 DOI: 10.1093/arthis/ulae019
Mark A Cheetham
{"title":"Monumental Ephemera: British Sculpture in the Arctic, Icebergs in London, an Inuit Map","authors":"Mark A Cheetham","doi":"10.1093/arthis/ulae019","DOIUrl":"https://doi.org/10.1093/arthis/ulae019","url":null,"abstract":"\u0000 The Arctic fascinated Londoners in the nineteenth century in panoramas, paintings and sculptures, voyage narratives and—tragically—transplanted Inuit. What has not been fully examined are the little-known amateur ‘snow sculptures’ of Britannia and other imperial figures made on a monumental scale in the Arctic in the early 1850s, when hundreds of sailors were searching for the lost 1845 Franklin expedition. Comparable with this crossing in sculpture is the amalgamation in one Parliamentary chart of an anonymous Inuk’s drawing of Franklin’s ships in the ice with a rendering of the area approved by the Admiralty. While these chiasmic interactions map a circuit of exchange, they also lack a centre. The most conspicuous absence in the Arctic was John Franklin, his crew and his two recently-salvaged ships. In England, what was never ‘fixed’ was the idea of the Arctic.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141798965","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}
引用次数: 0
Where is the Muranów Lily? Unearthing Traces of Queer Jewishness in Contemporary Warsaw 穆拉努夫百合在哪里？发掘当代华沙同性恋犹太人的踪迹
IF 0.3 2区 艺术学
Art History Pub Date : 2024-07-24 DOI: 10.1093/arthis/ulae017
Aleksandra Gajowy
{"title":"Where is the Muranów Lily? Unearthing Traces of Queer Jewishness in Contemporary Warsaw","authors":"Aleksandra Gajowy","doi":"10.1093/arthis/ulae017","DOIUrl":"https://doi.org/10.1093/arthis/ulae017","url":null,"abstract":"\u0000 In this essay I explore the possibility of an embodied, desiring encounter with traces of queer Jewishness in contemporary Warsaw. Examining Benny Nemer’s 2015 experimental audioguide Lilia z Muranowa (The Muranów Lily), commissioned by POLIN, the Museum of the History of Polish Jews, I propose a line of enquiry following a dybbuk-like haunting that the audioguide performs. In doing so, I investigate how desiring, affective speculation, legends and rumours might enable an encounter with history, if we allow ourselves to be haunted by them. I provide a landscape which the listener or the performer of Nemer’s experimental tale may engender with their desire, their body and their fantasy, in order to restore lives lost and forgotten in the archives, through the desiring archival subject: a queer Polish Jew.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141808103","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}
引用次数: 0
Notes on a Fragment: Zarina’s Dividing Line 片段笔记扎丽娜的分界线
IF 0.3 2区 艺术学
Art History Pub Date : 2024-07-23 DOI: 10.1093/arthis/ulae015
Aparna Kumar
{"title":"Notes on a Fragment: Zarina’s Dividing Line","authors":"Aparna Kumar","doi":"10.1093/arthis/ulae015","DOIUrl":"https://doi.org/10.1093/arthis/ulae015","url":null,"abstract":"\u0000 This essay provides a new reading of Zarina’s iconic woodcut print Dividing Line (2001), with an eye to unravelling the work’s relationship to the 1947 partition of the Indian subcontinent and the wider landscape of partition history. By considering Zarina’s use of paper, map and gouge, this reading argues that Dividing Line embodies a method and ethics of writing decolonial histories of partition, with important implications for how to understand and respond to the violent impact of postcolonial border-making on (art) history. The essay, written as a series of notes, seeks to account for the distinct forms and temporalities of writing for partition history that Dividing Line both produces and demands of the art historian. In its form, the essay mobilises the note as a fragmentary mode of writing, responsive to the specific dynamics of continuity and discontinuity endemic to the experience of lines, borders and partition in Dividing Line.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141812170","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}
引用次数: 0
Land Art Submerged: Betty Beaumont’s Ocean Landmark and Art History Beyond Proximity 淹没的陆地艺术贝蒂-博蒙特的海洋地标与超越距离的艺术史
IF 0.3 2区 艺术学
Art History Pub Date : 2024-07-23 DOI: 10.1093/arthis/ulae018
Francesca Curtis
{"title":"Land Art Submerged: Betty Beaumont’s Ocean Landmark and Art History Beyond Proximity","authors":"Francesca Curtis","doi":"10.1093/arthis/ulae018","DOIUrl":"https://doi.org/10.1093/arthis/ulae018","url":null,"abstract":"\u0000 Comprising 17,000 blocks of coal fly-ash, Betty Beaumont’s Ocean Landmark (1978–1980) is an artificial reef located off the coast of Fire Island, New York. This essay analyses the visual inaccessibility of the work and its reliance on an assemblage of media to highlight its significance for conceiving political, ecological and cultural meanings of the ocean. Land art’s fascination with the limits of visuality, the site/non-site dialectic and relationship with industry will provide a framework for this aim. Ocean Landmark’s situatedness and association with industrial ecology signals the wider juridical and political lack of transparency in industrial activity in the ocean spaces framed as sites of unseen environmental extraction. Demonstrating the political and epistemological consequences of a lack of visibility, it challenges the assumptions of total sensorial and epistemic access, highlighting the limitations of anthropocentric positions in and beyond the ocean.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141812698","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}
引用次数: 0
From Hell to Hell: Central Africans and Catholic Visual Catechesis in the Early Modern Atlantic Slave Trade 从地狱到地狱中非人与近代早期大西洋奴隶贸易中的天主教视觉教义
IF 0.5 2区 艺术学
Art History Pub Date : 2024-02-07 DOI: 10.1111/1467-8365.12753
Larissa Brewer-García, Cécile Fromont
{"title":"From Hell to Hell: Central Africans and Catholic Visual Catechesis in the Early Modern Atlantic Slave Trade","authors":"Larissa Brewer-García, Cécile Fromont","doi":"10.1111/1467-8365.12753","DOIUrl":"https://doi.org/10.1111/1467-8365.12753","url":null,"abstract":"In seventeenth-century Cartagena de Indias, a portcity in today's Colombia, enslaved Africans recently disembarked from the Middle Passage faced a Jesuit-designed multisensory catechesis. The process involved listening to translations of the Christian doctrine delivered by African interpreter-catechists enslaved by the Jesuits, often in conjunction with images. Hell featured prominently in this oral and visual catechesis. This essay analyses the violent confrontation between infernal imagery and survivors of the Middle Passage from regions in and around Kongo and Angola by unfolding a strategically oblique approach to the lacunar, biased records about this critical moment. It examines the vast Atlantic linguistic, spiritual, and visual ramifications of the catechesis to highlight the affective response of enslaved men and women to their captivity and displacement as subjects in history, viewers of works of art, and actors in the dramatic events of enslavement. It brings new, documented, historically situated, and culturally elucidated insights to the study of the transatlantic slave trade.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139910089","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}
引用次数: 0
The Aesthetics of Postrevolutionary Haiti: Currency, Kingship, and Circum-Atlantic Numismatics 革命后海地的美学：货币、王权和环大西洋钱币学
IF 0.5 2区 艺术学
Art History Pub Date : 2024-02-07 DOI: 10.1111/1467-8365.12758
Esther Chadwick
{"title":"The Aesthetics of Postrevolutionary Haiti: Currency, Kingship, and Circum-Atlantic Numismatics","authors":"Esther Chadwick","doi":"10.1111/1467-8365.12758","DOIUrl":"https://doi.org/10.1111/1467-8365.12758","url":null,"abstract":"This essay focuses on a British-made coin commissioned in 1811 by the first king of the northern part of the newly independent Haiti, Henry Christophe (1767–1820). The coin potently encapsulates the Kingdom of Hayti's central claims of racial equality, sovereignty and international recognition articulated in the wake of the Haitian Revolution. Here it is considered as the product of early nineteenth-century Anglo-Haitian relations, as an expression of Christophe's kingly ambitions, and as a striking entrant into the wider field of circum-Atlantic numismatics that can help illuminate the paradoxes of the postrevolutionary kingdom's aesthetic regime. Christophe's numismatic image both depends upon and overwrites conventional forms and meanings of European coins, medals, and cameos. At the same time, it demands interpretation in relation to distinctively Caribbean interpretations of Black kingship.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139910544","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}
引用次数: 0
The Self-Fashioning of the Signares: A Case for Decentring Artistic Modernity Signares的自我塑造：去中心化艺术现代性案例
IF 0.5 2区 艺术学
Art History Pub Date : 2024-02-07 DOI: 10.1111/1467-8365.12759
Anne Lafont
{"title":"The Self-Fashioning of the Signares: A Case for Decentring Artistic Modernity","authors":"Anne Lafont","doi":"10.1111/1467-8365.12759","DOIUrl":"https://doi.org/10.1111/1467-8365.12759","url":null,"abstract":"The essay focuses on the material culture of the <i>signare</i>s, that is, the objects and representations of an exceptional Eurafrican female community in the eighteenth and nineteenth centuries, composed of mixed-race women from Saint-Louis du Sénégal and the island of Gorée. Through their matrimonial alliances with European merchants, <i>signare</i>s formed a commercial and political elite. The essay identifies the transcultural technique of self-fashioning which they pursued so that they would be identified as powerful women. It addresses their practices as a way of discussing contemporary European theories of ornament, juxtaposing Caty Louet's and Anna Colas's invention in the domains of fabrics, headdresses and architecture with Gottfried Semper's and Charles Blanc's grammars of adornment. In a renewed and broadened conception of Paul Gilroy's Black Atlantic, the essay confronts theories of art in this vast geographical space as they were embedded – and can be unveiled – in texts as much as in practices.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139910588","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}
引用次数: 0
Foul Biting, or Diego Valadés and the Medium of Print 迭戈-巴拉德斯与印刷媒介》（Foul Biting, or Diego Valadés and the Medium of Print
IF 0.5 2区 艺术学
Art History Pub Date : 2024-02-07 DOI: 10.1111/1467-8365.12757
Stephanie Porras
{"title":"Foul Biting, or Diego Valadés and the Medium of Print","authors":"Stephanie Porras","doi":"10.1111/1467-8365.12757","DOIUrl":"https://doi.org/10.1111/1467-8365.12757","url":null,"abstract":"Published in 1579 in Perugia, Diego Valadés's <i>Rhetorica christiana</i> is best known today as the first illustrated publication to show evangelisation efforts in the Americas to audiences across the Atlantic. Yet too often the <i>Rhetorica</i>'s status in the history of art is that of <i>exotica</i>, a book seen as rare and valuable due to its American subject matter and its presumed <i>mestizo</i> authorship. This essay argues that these persistent miscategorisations exemplify a systemic failure to look beyond the images' representational content and account for the book's specific production history. The etched illustration programme of the <i>Rhetorica</i> not only details European proselytising efforts and Indigenous customs, but the book's facture also repositions colonial experience as central to artistic ambition and innovation in Europe, prompting a reassessment of print cultures of the early modern transatlantic world.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139910387","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}
引用次数: 0
The Metamorphosis of Tobacco: The Tobacco Pipe Makers' Arms 烟草的蜕变：烟斗制造商的武器
IF 0.5 2区 艺术学
Art History Pub Date : 2024-02-07 DOI: 10.1111/1467-8365.12754
Carla Cevasco
{"title":"The Metamorphosis of Tobacco: The Tobacco Pipe Makers' Arms","authors":"Carla Cevasco","doi":"10.1111/1467-8365.12754","DOIUrl":"https://doi.org/10.1111/1467-8365.12754","url":null,"abstract":"A delftware dish, made in London between approximately 1670 and 1690, depicts the arms of the Worshipful Company of Tobacco Pipe Makers. The three Black women who gaze out from the dish can be viewed as representations of the enslaved women whose agricultural and reproductive labour enabled the transatlantic tobacco trade. The white, male Pipe Makers would have viewed the dish through the symbolic languages of heraldry and racialised and gendered Black and Indigenous figures who populated tobacco advertising and the English racial imagination. This essay examines the dish's entangled material and representational contexts in the late seventeenth century and asks: what do the women on the dish demand from their viewers? And how should twenty-first-century viewers meet their gaze? The coat of arms of the Tobacco Pipe Makers endures amidst present-day struggles with the visual legacies of slavery. Yet this symbol – and the seventeenth-century dish that bears its image – also offers possibilities of liberation.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139910097","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}
引用次数: 0
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