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Reflecting (on) Objects 反映（在）物体上
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12747
Elsje van Kessel
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引用次数: 0
Queer Abstractions and Formal Revisions 同性恋抽象与形式修正
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12746
Bryony White
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引用次数: 0
Moods, Monsoons, and the Art of Place-Making 情绪、季风和场所营造艺术
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12749
Holly Shaffer
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引用次数: 0
The Violence of Hair 头发的暴力
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12751
Rebekah Compton
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引用次数: 0
Both/And: Howardena Pindell and Lorraine O'Grady in Focus 兼而有之：聚焦 Howardena Pindell 和 Lorraine O'Grady
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12750
Jamie Danis
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引用次数: 0
Abstracts & Authors' Biographies 摘要与作者简介
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12665
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引用次数: 0
The Unfolding of Photography in India 印度摄影的发展
IF 0.5 2区 艺术学
Art History Pub Date : 2023-12-12 DOI: 10.1111/1467-8365.12748
Ajay Sinha
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引用次数: 0
An Exhibition in Negative: Nigel Henderson, Parallel of Life and Art and the Photographic Image 底片展览:奈杰尔·亨德森:《生活与艺术的平行与摄影影像》
IF 0.5 2区 艺术学
Art History Pub Date : 2023-11-15 DOI: 10.1111/1467-8365.12752
Rosie Ram
{"title":"An Exhibition in Negative: Nigel Henderson, Parallel of Life and Art and the Photographic Image","authors":"Rosie Ram","doi":"10.1111/1467-8365.12752","DOIUrl":"10.1111/1467-8365.12752","url":null,"abstract":"<p>This essay focuses on a series of photographic negatives relating to the ground-breaking exhibition <i>Parallel of Life and Art</i>, which opened at London's Institute of Contemporary Arts in 1953. Painstakingly preserved by one of the five exhibition-makers, the artist-photographer Nigel Henderson, these dark, translucent forms of photographic image offer the basis for a new interpretation of the exhibition. Crucially, they show how <i>Parallel of Life and Art</i> was rooted – technologically, aesthetically, and conceptually – in photographic negativity. This engagement with the negative found concentrated expression in four photographic images that Henderson created and integrated into the display. Simultaneously rejecting and reworking the conventions of modern art, these images enacted complex forms of negation, which inflected the exhibition as a whole. Read in dialogue with the negatives from <i>Parallel of Life and Art</i>, they pose profound challenges to the established distinctions between the artwork, the photograph, and the exhibition in post-war Britain.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12752","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘The Breath of Every Living Thing’: Zoocephali and the Language of Difference on the Medieval Hebrew Page 每个生物的呼吸"：Zoocephali 和中世纪希伯来文页面上的差异语言
IF 0.5 2区 艺术学
Art History Pub Date : 2023-10-26 DOI: 10.1111/1467-8365.12742
Elina Gertsman
{"title":"‘The Breath of Every Living Thing’: Zoocephali and the Language of Difference on the Medieval Hebrew Page","authors":"Elina Gertsman","doi":"10.1111/1467-8365.12742","DOIUrl":"10.1111/1467-8365.12742","url":null,"abstract":"<p>The most remarkable feature of the Hammelburg Mahzor, a fourteenth-century German High Holiday book, is the inclusion of zoocephalic figures: humans with beastly heads. The purpose of this essay is to explore the semiotics and phenomenology of this specifically Jewish visual idiom, and to suggest that its presence lies at the intersection of language, philosophy, poetry, and history. In the Mahzor, zoocephaly signals distinction that collapses temporalities, tests the limits of alterity, and engages in a sophisticated word–image play that strives to establish visceral connections with the community of the manuscript's users. Hammelburg zoocephali invoke the fragility of the human condition by establishing reverberating relationships between themselves and other inhabitants of the Mahzor's pages: echoes of many, avatars of none. Outwardly monstrous yet emphatically human, these zoocephali prove to be particularly excellent images to think with about the place of Hebrew manuscripts in the long history of medieval visual culture.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12742","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134906263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Staging Grounds: Loutherbourg and Warley 中转站洛瑟堡和沃利
IF 0.5 2区 艺术学
Art History Pub Date : 2023-10-05 DOI: 10.1111/1467-8365.12743
John Bonehill
{"title":"Staging Grounds: Loutherbourg and Warley","authors":"John Bonehill","doi":"10.1111/1467-8365.12743","DOIUrl":"10.1111/1467-8365.12743","url":null,"abstract":"<p>In 1778, Philippe-Jacques de Loutherbourg began work on a pair of companion pictures marking George III's attendance at a spectacular military review on the broad expanse of Essex wasteland that was Warley Common. Scholars of the painter's art have largely overlooked these ambitious, large-scale landscapes, but their commission and subsequent display at the Royal Academy played a key role in advancing Loutherbourg's career. Strikingly novel, the paintings attracted a good deal of critical attention for their curious mix of the patriotic and the satirical, the topographic and the scenographic. Taking its cue from this latter stage set-like quality, this essay situates Loutherbourg’s Warley scenes in relation to a series of dramatic spaces, moving from the ‘battlefield’ depicted to the London stage to the Academy exhibition room, highlighting a series of connections and interactions that shed new light on the performativity of Georgian art, culture and spaces of display.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12743","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134976507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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