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Abstracts & Authors' Biographies 摘要与作者传记
IF 0.5 2区 艺术学
Art History Pub Date : 2023-04-12 DOI: 10.1111/1467-8365.12662
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引用次数: 0
Art History and the Landscape of Crisis 艺术史与危机景观
IF 0.5 2区 艺术学
Art History Pub Date : 2023-04-12 DOI: 10.1111/1467-8365.12711
Lucy Bradnock
{"title":"Art History and the Landscape of Crisis","authors":"Lucy Bradnock","doi":"10.1111/1467-8365.12711","DOIUrl":"https://doi.org/10.1111/1467-8365.12711","url":null,"abstract":"On 1 June 2017. the five-member artist union Winter Count released a three-minute single-channel video work titled We Are in Crisis. In it, drone footage of the scarred industrial landscape of the Midwest and the Oceti Sakowin camp of Indigenous Water Protectors and activist allies is accompanied by a voiceover that narrates a longstanding enthral to the beast of extractive capitalism. The crisis indicated in the work's title is clear: the video's release coincided with the US government's statement of intent to withdraw from the Paris Climate Accord, and the announcement of the commercial operation of the Dakota Access Pipeline, built across lands a waters sacred to the Standing Rock Sioux Tribe. More ambiguous is the universaling pronoun of the video's closing declaration: We are in crisis', which could be interpreted in a local , national. or global sense to refer to Indigenous peoples, American politicians, citizens suffering the impacts of rapid climate change or viewers invited to gaze from above on the landscape and its multiple contested histories. In the nearly six years since the Winter Count video, we may well have become inured to the idea of crisis. We continue to grapple with the societal and existential effects of the ongoing Covid pandemic;to experience and confront systemic racism and gender inequality, the continued legacies of settler colonialism and enslavement and the resurgence of violent far-right groups and aggressive regimes;and to labour in a world in which the global climate is forcing us to reassess our past and present behaviours, and our collective planetary futures. These are existential and physical pressures, but they are also epistemoligical;taken together. they have invited us to focus again on the local even as they have demanded a planetary perspective. And they necessitate a reconsideration of stakes of knowledge production and use.","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12711","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50121374","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
Archiving the Archive Art Phenomenon 档案艺术现象的归档
IF 0.5 2区 艺术学
Art History Pub Date : 2023-04-12 DOI: 10.1111/1467-8365.12705
Chloe Julius
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引用次数: 0
The Curse of Nation, or the Dark Underside of French Modernity 国家的诅咒，还是法国现代性的黑暗底层
IF 0.5 2区 艺术学
Art History Pub Date : 2023-04-12 DOI: 10.1111/1467-8365.12702
Adrian Rifkin
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引用次数: 0
Candace Hill-Montgomery, Against Containment 坎迪斯·希尔·蒙哥马利反对遏制
IF 0.5 2区 艺术学
Art History Pub Date : 2023-03-30 DOI: 10.1111/1467-8365.12709
Amy Tobin
{"title":"Candace Hill-Montgomery, Against Containment","authors":"Amy Tobin","doi":"10.1111/1467-8365.12709","DOIUrl":"https://doi.org/10.1111/1467-8365.12709","url":null,"abstract":"<p>This essay focuses on the work of New York-based artist and poet Candace Hill-Montgomery. In 1979, Hill-Montgomery described her work as changing ‘the containment we all live within’, pointing both to the social and political investments of her practice, and to her formal transition from making art in her studio to making installations in public, often from found materials and detritus. Her desire for recognition and understanding across difference at a moment of rising neo-conservatism was an investment in social and subjective repair. I trace this impulse across ‘environmental sculptures’, collages and artist's books made between 1979 and 1983, articulating a general impetus to be against containment that, I argue, is also instructive as an art-historical method.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12709","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50148618","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
High, Low, and Beyond: The Question of Popular Art in Peru 高、低和超越：秘鲁的大众艺术问题
IF 0.5 2区 艺术学
Art History Pub Date : 2023-03-15 DOI: 10.1111/1467-8365.12708
Megan A. Sullivan
{"title":"High, Low, and Beyond: The Question of Popular Art in Peru","authors":"Megan A. Sullivan","doi":"10.1111/1467-8365.12708","DOIUrl":"https://doi.org/10.1111/1467-8365.12708","url":null,"abstract":"<p>This essay traces the emergence and development of the category of ‘popular art’ in Peru between the 1920s and the 1970s, and the relationship of that category to the formations of both modern and postmodern artistic practices in that country. Taking the awarding of the 1975 national prize of art to the <i>retablista</i> Joaquín López Antay as its fulcrum, it argues that this key event, which has been traditionally regarded as a watershed in the history of Peruvian art, was indeed the logical consequence of how indigenist painters framed the field of artistic production in Peru. It also analyses the simultaneous emergence of an alternative view of popular art that did away with notions of cultural authenticity and national representation.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50133714","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
Bovine Reproductions: Animal Husbandry and Acclimatization in the Cattle Paintings and Prints of Rosa Bonheur 牛的繁殖：罗莎·邦赫尔牛画和版画中的畜牧业和驯化
IF 0.5 2区 艺术学
Art History Pub Date : 2023-03-08 DOI: 10.1111/1467-8365.12707
Stephanie Triplett
{"title":"Bovine Reproductions: Animal Husbandry and Acclimatization in the Cattle Paintings and Prints of Rosa Bonheur","authors":"Stephanie Triplett","doi":"10.1111/1467-8365.12707","DOIUrl":"https://doi.org/10.1111/1467-8365.12707","url":null,"abstract":"<p>The mutability and physical perfectibility of animal bodies was a scientific and aesthetic preoccupation in nineteenth-century France, channelling anxieties about class, race and national identity into projects of breeding domestic animals. This essay explores how the animal painter Rosa Bonheur figured an imagined agricultural superabundance through depictions of both European and ‘exotic' imported bovines. The cattle that so often functioned throughout art history as illustrated zoological specimens or landscape staffage emerge in these portrayals as central protagonists rich in fur, fat, and muscular force. The seemingly anodyne cow thereby became symbolically charged, associated with both capitalist modernization and pastoral idyll.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12707","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50125245","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 Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time 幽灵与岩石：阿尔伯特·伦格·帕奇与时间的形状
IF 0.5 2区 艺术学
Art History Pub Date : 2023-03-06 DOI: 10.1111/1467-8365.12696
Megan R. Luke
{"title":"The Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time","authors":"Megan R. Luke","doi":"10.1111/1467-8365.12696","DOIUrl":"https://doi.org/10.1111/1467-8365.12696","url":null,"abstract":"<p>The career of photographer Albert Renger-Patzsch began in the early 1920s in the storerooms of Germany's ethnographic museums, and ended in 1966 with the publication of his last photobook, <i>Gestein</i> (Rock). His reputation as a leading exponent of <i>Neue Sachlichkeit</i> (New Objectivity) developed in tandem with heated debates over sculptural facsimiles and contemporary art in the historical museum in the late Weimar Republic. These debates gave expression to the ‘non-simultaneity of the simultaneous’ (<i>Ungleichzeitigkeit des Gleichzeitigen</i>), a central concept for the crisis of historicism in the post-inflation years. In an age of mass reproduction, could ‘things’ still reliably embody and convey the past into present? This question took on renewed urgency for Renger at the end of his life – as, indeed, it did for many writers of his generation, who, if they outlived Nazi terror, genocide, and war, looked back on the historical valence of objecthood as unfinished business.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12696","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50123161","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
Prussian Blue: Chemistry, Commerce, and Colour in Eighteenth-Century Paris 普鲁士蓝：18世纪巴黎的化学、商业和色彩
IF 0.5 2区 艺术学
Art History Pub Date : 2023-03-01 DOI: 10.1111/1467-8365.12695
Charlotte Guichard, Anne-Solenn Le Hô, Hannah Williams
{"title":"Prussian Blue: Chemistry, Commerce, and Colour in Eighteenth-Century Paris","authors":"Charlotte Guichard,&nbsp;Anne-Solenn Le Hô,&nbsp;Hannah Williams","doi":"10.1111/1467-8365.12695","DOIUrl":"https://doi.org/10.1111/1467-8365.12695","url":null,"abstract":"<p>This essay reconsiders the story of a pigment. Prussian blue, discovered at the beginning of the eighteenth century, is often described as a revolutionary colour that instantly transformed painters’ palettes and practices. Grounded in a ‘thick description’ of the pigment's history in Paris, this article challenges the legendary account of Prussian blue through a more granular retelling of its development. It reconstructs the <i>chaîne opératoire</i> of Prussian blue through the laboratories of chemists, the factories of manufacturers, the shops of colour merchants, and the studios of artists. Emphasizing the intersections between the worlds of art, chemistry, and commerce, this essay points to the pigment's transformative impact in the larger history of artists’ materials as a scientifically created and commercially marketed product. Shedding new light on the history of Prussian blue, this study also offers an interdisciplinary methodological approach to artists’ materials through art history, social history, and conservation science.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12695","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50127790","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
Indigenous Dispossession and Settler Colonial Art Galleries: Anguish at the National Gallery of Victoria 土著处置和定居者殖民艺术画廊：维多利亚国家美术馆的Anguish
IF 0.5 2区 艺术学
Art History Pub Date : 2023-03-01 DOI: 10.1111/1467-8365.12697
Kate Nichols
{"title":"Indigenous Dispossession and Settler Colonial Art Galleries: Anguish at the National Gallery of Victoria","authors":"Kate Nichols","doi":"10.1111/1467-8365.12697","DOIUrl":"https://doi.org/10.1111/1467-8365.12697","url":null,"abstract":"<p>Histories of settler colonial art galleries have tended to present these institutions as distant attempts to replicate British models. This essay argues that settler/Indigenous interactions, and the violent dispossession of Indigenous peoples, were fundamental to the formation of settler colonial art galleries, through a case study of the 1880s acquisition and reception of Danish painter A. F. A. Schenck's <i>Anguish</i> (1878) at the National Gallery of Victoria (NGV) in Melbourne, on unceded land of the Kulin nation. Examining the career of the NGV's London art adviser, Alfred Taddy Thomson, from the violence of the colonial frontier in the 1840s, to his art advising practice in late nineteenth-century London, it demonstrates the ways in which frontier violence permeated the formation of British settler colonial cultural institutions. The acquisition and reception of <i>Anguish</i> provides a stimulus to rethink approaches to histories of settler colonial art galleries, and to European paintings in their collections.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/1467-8365.12697","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50127791","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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