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Foul Biting, or Diego Valadés and the Medium of Print Art History Pub Date : 2024-02-07 Stephanie Porras
Published in 1579 in Perugia, Diego Valadés's Rhetorica christiana 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 Rhetorica's status in the history of art is that of exotica, a book seen as rare and valuable due to its American subject matter and its presumed mestizo authorship. This essay argues
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The Metamorphosis of Tobacco: The Tobacco Pipe Makers' Arms Art History Pub Date : 2024-02-07 Carla Cevasco
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
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From Hell to Hell: Central Africans and Catholic Visual Catechesis in the Early Modern Atlantic Slave Trade Art History Pub Date : 2024-02-07 Larissa Brewer-García, Cécile Fromont
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
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The Self-Fashioning of the Signares: A Case for Decentring Artistic Modernity Art History Pub Date : 2024-02-07 Anne Lafont
The essay focuses on the material culture of the signares, 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, signares formed a commercial and political elite. The essay identifies
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The Aesthetics of Postrevolutionary Haiti: Currency, Kingship, and Circum-Atlantic Numismatics Art History Pub Date : 2024-02-07 Esther Chadwick
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
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An Exhibition in Negative: Nigel Henderson, Parallel of Life and Art and the Photographic Image Art History Pub Date : 2023-11-15 Rosie Ram
This essay focuses on a series of photographic negatives relating to the ground-breaking exhibition Parallel of Life and Art, 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
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‘The Breath of Every Living Thing’: Zoocephali and the Language of Difference on the Medieval Hebrew Page Art History Pub Date : 2023-10-26 Elina Gertsman
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
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Staging Grounds: Loutherbourg and Warley Art History Pub Date : 2023-10-05 John Bonehill
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
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Queer Ecologies and Anti-Colonial Abundance in Lionel Wendt's Ceylon Art History Pub Date : 2023-10-04 Edwin Coomasaru
Published posthumously in 1950, queer Sri Lankan photographer Lionel Wendt's photobook Ceylon crafted an aesthetic of queer environmental abundance. His photographs, ranging from documentary-style to surrealist-inspired images, were taken between 1933 and 1944, shaped by and contributing to rising waves of national consciousness and anti-colonial movements ahead of the island's independence in 1948
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Looking Beyond Jerusalem: A Fifteenth-Century Exercise in Image Comparison Art History Pub Date : 2023-10-04 Hanna Vorholt
Critical image comparison is a widespread art-historical practice. This essay explores why a Brabantine artist encouraged viewers to exercise it in the late fifteenth century. At the time, northern European artists tested out how images could be means of transcending the visible world while simultaneously showcasing their very constructedness. The self-reflexivity that characterises such images has
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That Monster Over There: Silvia Kolbowski, Trump, and Allegory Art History Pub Date : 2023-09-01 Ivan Knapp
This essay considers the ways in which Silvia Kolbowski's 2018 video That Monster: An Allegory addresses the psychical and political basis of Donald J. Trump's appeal in the 2016 US election. The video is crafted out of a collection of fragments from James Whale's 1935 The Bride of Frankenstein, which Kolbowski plays first with a score by Philip Glass and then in silence. This article asks how such
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‘About the Tangle of the Rose’: Thinking with the Fin-de-Siècle Tendril Art History Pub Date : 2023-07-30 Emily Cox
‘[It] transported me a thousand miles from London, to a thousand years from the age of Mr. Gladstone’, recalled Robert de la Sizeranne of Edward Burne-Jones's Briar Rose series (1884–90). This essay argues, on the contrary, that the paintings were closer to contemporary concerns than Sizeranne allowed. In Burne-Jones's briar, we find a remarkable example of one of the late nineteenth century's most
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Thinking with Heraldry on the Eve of the Reformation: A Drawing by Niklaus Manuel Deutsch Art History Pub Date : 2023-07-24 Frances Rothwell Hughes
This essay addresses an understudied drawing of a fictional coat of arms by the Swiss artist Niklaus Manuel, called Deutsch, suggesting that it gently subverts heraldic conventions, reflecting contemporaneous concerns about the instability of earthly insignia. By evoking iconographies of Fortuna and the homo viator, the drawing challenges the security of armorial prestige. Manuel – like Albrecht Dürer
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Physics, Psychical Research, and the Self: Evelyn De Morgan's Spiritualist Portraits Art History Pub Date : 2023-07-10 Emma Merkling
This essay examines spiritualist artist Evelyn De Morgan's representation of the self in several paintings c. 1900, including never before discussed portraits. Starting with the portraits' unusual treatment of the face as deflecting psychological legibility, it argues that the ‘self’ that they figure aligns with that described in contemporary scientific writings, notably by experimental psychologist
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Mercury Rising: US–Mexican Conflict in Alexander Edouart's Blessing of the Enrequita Mine Art History Pub Date : 2023-06-25 Monica Bravo
Alexander Edouart's Blessing of the Enrequita Mine of 1860 commemorates the discovery of a mercury vein in New Almaden, California. It pictures the mine's Anglo-American administrators, its primarily Mexican miners, and industry's impact upon the landscape. Despite the seemingly idyllic nature of the genre scene, the Enrequita Mine and its painted portrayal mark a contentious turning point in the economic
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Voicing the Queer Self: Listening to Portraits with Vernon Lee Art History Pub Date : 2023-06-23 Francesco Ventrella
Originating in a critical examination of Vernon Lee's perceived ugliness and her excessive talking among her acquaintances, this essay situates historically a series of portraits in which she features as a sitter, subject of comment and commentator, to suggest that the interweaving of voices and faces can be useful to resist the elision of seeing and knowing on which art historians often base their
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Doubled Abstraction: Ruth Asawa's Stamp and Its Afterlife Art History Pub Date : 2023-06-23 Isabel Bird
In Ruth Asawa's final year at Black Mountain College, c. 1948–49, she used a rubber stamp borrowed from the laundry room and featuring the college's initials (BMC) to make a body of work. Three years later, a pattern derived from this work was mass-produced and marketed across the US under the name Alphabet – without attribution to Asawa, nor to the school for which the pattern's acronym stood. This
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Myths of Modernism: Austrian Art after 1918 Art History Pub Date : 2023-06-06 Matthew Rampley
The development of art in Austria after 1918 remains little explored; the main focus of research continues to be fin-de-siècle Vienna. Where interwar Austrian modernism is studied at all, interest is mostly limited to the municipal housing sponsored by the Social Democratic council. The main concern of this essay is to examine the reasons for this inconsistency and comparative neglect. It explores
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Eastern Encounters: Ilia Repin's Orientalist Aesthetics Abroad and at Home Art History Pub Date : 2023-06-05 Maria Taroutina
This essay examines Ilia Repin's sustained engagement with European Orientalist painting and its impact on his oeuvre. Through close readings of three of his major works, Sadko in the Underwater Kingdom (1876), Ivan the Terrible and His Son Ivan (1885), and Zaporozhian Cossacks Writing a Letter to the Turkish Sultan (1880–91), it argues that Repin deployed Eastern motifs in order to unsettle entrenched
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Discernment or Devotion: Egypt and Sculptural Politics in Eighteenth-Century France Art History Pub Date : 2023-05-03 Elizabeth Saari Browne
Although French fascination with Egyptian material culture is often dated to the nineteenth century, ancient Egyptian gems, architectural fragments, and small statues were already avidly collected in the eighteenth century. For some, the display and close study of small Egyptian works of art in private cabinets served to develop discernment, the formal properties illuminating historical moeurs, techniques
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An Inside Look at Yüksel Arslan's Outsider Practice, 1955–64 Art History Pub Date : 2023-05-02 Ambra D'Antone
This essay provides new evidence for a historiographical re-contextualization of the early artistic practice of Turkish artist Yüksel Arslan (1933–2017). Within this scholarship, Arslan is generally portrayed as an outsider figure who resisted traditional artistic categorizations; consequently, the historical conditions leading to his artistic posture in 1950s Istanbul, where his career began, remain
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Lavinia Fontana's Freedom Art History Pub Date : 2023-04-20 Emanuele Lugli
This essay searches for the meaning of the medal commemorating Bolognese painter Lavinia Fontana (1552–1614). While doing so, it rediscovers what has been regarded as an interesting but derivative object to be a most sophisticated artwork. Fontana's medal was not just an honour: it was a cultural intervention that addressed multiple cultural debates taking place across central Italy, from the nature
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Candace Hill-Montgomery, Against Containment Art History Pub Date : 2023-03-30 Amy Tobin
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
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High, Low, and Beyond: The Question of Popular Art in Peru Art History Pub Date : 2023-03-15 Megan A. Sullivan
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 retablista Joaquín López Antay as its fulcrum, it argues that this key event, which has been traditionally
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Bovine Reproductions: Animal Husbandry and Acclimatization in the Cattle Paintings and Prints of Rosa Bonheur Art History Pub Date : 2023-03-08 Stephanie Triplett
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
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The Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time Art History Pub Date : 2023-03-06 Megan R. Luke
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, Gestein (Rock). His reputation as a leading exponent of Neue Sachlichkeit (New Objectivity) developed in tandem with heated debates over sculptural facsimiles and contemporary art in the historical museum in the
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Indigenous Dispossession and Settler Colonial Art Galleries: Anguish at the National Gallery of Victoria Art History Pub Date : 2023-03-01 Kate Nichols
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
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Prussian Blue: Chemistry, Commerce, and Colour in Eighteenth-Century Paris Art History Pub Date : 2023-03-01 Charlotte Guichard, Anne-Solenn Le Hô, Hannah Williams
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
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Countercultural Misunderstandings: Alternative Art and Cold War Politics Art History Pub Date : 2023-02-22 Klara Kemp-Welch
Drawing on Theodore Roszak's 1969 classic, The Making of a Counter Culture: Reflections on the Technocratic Society and its Youthful Opposition, this essay argues that the difficulties experienced by members of the counterculture in establishing bonds of solidarity with potentially like-minded groups were often shared by alternative artists working internationally post-1968. Opening with a case study
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Errata Art History Pub Date : 2022-12-15
Corrections to ‘Iqbal Geoffrey v. The Museum of Modern Art’ Gemma Sharpe, ‘Iqbal Geoffrey v. The Museum of Modern Art’, Art History, 45: 4, September 2022, 744–773. On page 751, the complete name of the artist who made the Merz pictures is Kurt Schwitters. This has been corrected in the online version. A few other typographical errors have also been corrected in the online version. We apologize for
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Animating Internationalism: David Alfaro Siqueiros and Antifascist Art in the 1930s Art History Pub Date : 2022-10-27 Jennifer Jolly
This essay uses the art and travels of Mexican artist David Alfaro Siqueiros to analyse the transnational antifascist artistic culture of the 1930s. Siqueiros was one of many artists who joined antifascist (and later Popular Front) organizations, and circulated their art beyond the traditional spaces of localized art worlds – into the streets and across national boundaries – to animate a global artistic
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Colesworthy Grant's Portraits of Colonial Society in India: Lithography, Liberalism, and the Global Making of Middle-Class Culture, c. 1833–57 Art History Pub Date : 2022-10-25 Tom Young
This essay explores how lithographic printing connected colonial society in India to global developments in the making of middle-class culture. It focuses on two print portrait series that the artist Colesworthy Grant (1813–80) released in illustrated periodicals: Lithographic Sketches of the Public Characters of Calcutta; and A Series of Miscellaneous Rough Sketches of Oriental Heads. The former defined
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On Islam and Portraiture: Lithography, Glass Painting, and Photography in Senegal Art History Pub Date : 2022-10-25 Giulia Paoletti
Scholars have for decades challenged the popular belief that Islam is intrinsically and implacably hostile to anthropomorphic art. Rooted in this literature, this essay argues that Islam was responsible for popularizing portraiture in Senegal, which previously featured none. With the founding of local Sufi brotherhoods such as the Mouridiyya in the 1880s, the eminence of religious leaders led to an
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Iqbal Geoffrey v. The Museum of Modern Art Art History Pub Date : 2022-10-24 Gemma Sharpe
In 1971, Pakistan-born lawyer and artist Iqbal Geoffrey (1939–2021) lodged a discrimination case against the Museum of Modern Art in New York. This essay connects Geoffrey's complaint, which he filed with the New York State Division of Human Rights, to MoMA's situation at the centre of activist debates over race and equality during the late 1960s and early 1970s, and the museum's prominent role in
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Errata Art History Pub Date : 2022-10-20
Corrections to ‘On the Home Front: Italian Art, 1944–1973, and the Hidden Abode of Cultural Reproduction’ Jaleh Mansoor, ‘On the Home Front: Italian Art, 1944–1973, and the Hidden Abode of Cultural Reproduction’, Art History, 45: 2, April 2022, 421–426. On page 421, one of the co-editors of the book Feminism and Art in Postwar Italy: The Legacy of Carla Lonzi was listed as Giovanni Zapperi. This was
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The Art of Assemblage at La Venta Art History Pub Date : 2022-10-11 Claudia Brittenham
How might the meaning of monumental sculpture be ephemeral? At La Venta, objects from greenstone figurines to massive basalt sculptures were recycled, reworked, and moved around the landscape, their new configurations and associations creating new kinds of meaning and enabling new kinds of ritual interaction. This essay considers the assemblage, and not just the individual work, as an important category
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The Back of Her Head: The Fashionable Wartime Ruins of Cecil Beaton Art History Pub Date : 2022-10-02 Altair Brandon-Salmon
Cecil Beaton's 1941 photograph Fashion is indestructible, published by British Vogue, depicts a model in a couture suit looking at Blitz ruins. The image claims fashion as timeless, contrasting it with ruins, which in their destruction hold out a promise for future rebuilding, time manifesting itself in the rubble of bombsites and the fabric of clothing. By reading the photograph as a historical document
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‘The Centre is Nowhere’: British Art and the Global Art History Pub Date : 2022-09-20 Imogen Hart, Dorothy Price
What does it mean for art history to conjoin the terms ‘British art’ and ‘the global’? What is carried by the liminal space of the conjuncture? And what is forsaken? This special issue seeks to think through the pressures placed on British art since the mid-nineteenth century as a national category of enquiry in the wake of unstable definitions of post-colonialism, neo-colonialism, globalization and
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Transmission and Transfer: Plantation Imagery and Medical Management in the British Empire Art History Pub Date : 2022-09-20 Anna Arabindan-Kesson
This essay centralizes representations of the Caribbean plantation in British art, and examines their importance to the development of landscape representation and the history of medicine. The plantation came into view through the overlapping conventions of the picturesque genre and colonial medicine. Tracing their relationship to, and distancing from, the development of British art ‘at home’, I address
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Multiple Versions, Multiple Markets, Multiple Meanings: Worldwide Trade in British Autograph Replicas Art History Pub Date : 2022-09-20 Julie Codell
In this essay I explore relationships between Victorian artists' prolific production of autograph replicas and the wide global demand for these replicas. Autograph replicas, defined by Victorian artists as variations on a subject through changes in size, medium or image from a first version, were largely commissioned by patrons. This market was later driven by foreign collectors who avidly sought autograph
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Worlding on the Hudson: Frederic Church and Global Histories of Art Art History Pub Date : 2022-09-20 Mary Roberts
The ‘Persian’ interior of the American landscape painter Frederic Church is a place crowded with paintings, objects and architectural ornament orchestrated as an installation that the artist both accrued and designed over a thirty-year period. This regional orientalism, with its cosmopolitan claims and internationally networked cultural politics, is located outside Britain's geographic imperium but
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Post-Impressionism: Universal, British, Global Art History Pub Date : 2022-09-20 Sam Rose
Starting from the possibility of a ‘global’ account of a style, this essay examines the consequences of the idea of post-impressionism. Around 1910, Roger Fry drew on histories of world art and international art historiography to cast post-impressionism as putatively universal, a style that was not just a new development, but was a rediscovery of a natural form of artistic creation. Seen this way,
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Ambiguities of Imperial Mourning: The Patcham Chattri Art History Pub Date : 2022-09-20 Tim Barringer
The Chattri Indian Monument, erected upon the Sussex Downs above Brighton in 1921, commemorates the Hindu and Sikh soldiers who died in hospitals in Brighton as a result of wounds received fighting for the British Empire in the First World War. The form and name of the monument reference the chatrī, an architectural element characteristic of historical palaces and tombs of northern India. The monument
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Althea McNish: Designs without Borders Art History Pub Date : 2022-09-20 Imogen Hart
Althea McNish (1924–2020) defies many of art history's borders. Born in Trinidad, McNish trained in London; her work crosses the line between fine and decorative art; and she brings the history of modern pattern design into dialogue with the history of Black British art. Focusing on her textiles of the 1950s and 1960s, this article foregrounds the multivalence of McNish's practice, exploring the productive
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To Let You Understand: Franki Raffles, Photography and Feminist Solidarity Art History Pub Date : 2022-09-20 Catherine Spencer
This essay examines how images by the feminist documentary photographer Franki Raffles illuminate the possibilities for – and challenges involved in – the instigation of feminist solidary between different geographic sites. Drawing on Chandra Talpade Mohanty's distinction between ‘solidarity’ and ‘sisterhood’, whereby the former signals a process of active struggle that recognizes, rather than erases
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Riley in Cairo: British Art and Egypt in the 1980s Art History Pub Date : 2022-09-20 Richard Johns
In the early 1980s, Bridget Riley produced a series of paintings distinguished by their use of the same group of colours, said to have been inspired by the vividly preserved painted tombs that she encountered during a visit to Egypt in the winter of 1979–80. Though clearly related to the black-and-white paintings that propelled Riley to international fame in the 1960s, these new works represented a
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Synaptic Visualizations: Reading ‘the Global’ in and through the Work of Sutapa Biswas Art History Pub Date : 2022-09-20 Gill Park
This essay focuses on the work of British contemporary artist Sutapa Biswas (born 1962). Over the past forty years, Biswas has engaged, through film, photography and other media, with the complex structures and aesthetics of the global, in relation to her own migratory experience. Having come to Britain from West Bengal as a child, the artist's return in the 1980s to the place of her birth precipitated
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Detours Through the Black Country: On Al-An deSouza's Expeditionary Under-Writings Art History Pub Date : 2022-09-20 Moi Tsien
During the summer of the 2016 Brexit vote, the artist Al-An deSouza (formerly known as Allan deSouza), in the persona of Hafeed Sidi Mubarak Mumbai, was in London conducting a performative expedition, Through the Black Country (TBC). The expedition culminated in a travelling exhibition consistent with deSouza's larger practice of ‘restaging the material culture of the colonial period in order to identify
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Unearthing Wu Daozi (c. 686 to c. 760): The Concept of Authorship in Tang Painting Art History Pub Date : 2022-05-23 Wu Hung
Worshipped by later folk artists as the god of painting, Wu Daozi (c. 686 to c. 760) was also praised by ninth-century art historian Zhang Yanyuan as someone who ‘did not look back and will have no successors’. But alas, this ‘Sage of Painting’ (Hua sheng) left no work to us (imagine if we knew Leonardo da Vinci or Michelangelo only by reputation). Can archaeology remedy this unfortunate situation
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‘Kind of Goya-esque or Something’: Charles Ray's Early Works Art History Pub Date : 2022-05-23 Dominic Johnson
In Charles Ray's Plank Piece I-II (1973), the artist creates a sculptural assemblage that holds him uncomfortably aloft. There has been little critical attention to his earliest performed sculptures created between from around 1973 to 1980, beyond characterizations as jejune experiments, homages, or hijinks. I seize on a statement by Ray that when he claimed in the 1970s that the works ‘[had] no meaning
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Fra Angelico's The Miracle of the Black Leg: Skin Colour and the Perception of Ethiopians in Florence before 1450 Art History Pub Date : 2022-04-26 Scott Nethersole
For the high altar of San Marco in Florence, Fra Angelico painted a scene in which Saints Cosmas and Damian graft the black leg of a deceased Ethiopian onto the body of a white European devotee. The white man, upon awaking, ‘saw nothing wrong’. Did he, or his audience around 1440, really have no objection to his new black leg? It would seem that to them the issue was not that the leg was black, but
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Crossing the Line: Cristóbal de Villalpando and the Surplus of Script Art History Pub Date : 2022-04-26 Aaron M. Hyman
In 1706 Cristóbal de Villalpando signed a painting with an unusual, intensive calligraphic flourish, and sent it from Mexico City far to the north. This essay describes Villalpando's decision to invest so much pictorial energy in letterforms against this geographic backdrop. Doing so reveals several social registers in which writing had taken on particular professional charge, and opens on to a yet
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How to Teach Manet's Olympia after Transgender Studies Art History Pub Date : 2022-04-26 David J. Getsy
Addressed to art historians as both teachers and researchers, this essay reconsiders the well-trodden case of Édouard Manet's Olympia (1863) to challenge the conventional assumptions about the nude as a sign for gender. Aligning itself with the interdisciplinary field of transgender studies, the essay models one version of how art historians might teach a sceptical history of the nude in which we leave
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George Gabb and ‘Le Cabinet de M. Le Clerc’: Art, Science, and the Visual Production of Knowledge Art History Pub Date : 2022-04-25 Katy Barrett
In 1948, the Science Museum, London, acquired a drawing by French artist Sébastien Le Clerc entitled The Physical Laboratory of the Académie des Sciences, bequeathed by the chemist and collector George Hugh Gabb. Separated from two other drawings by Le Clerc of the same composition, the drawing has been interpreted as a view of the French Académie des Sciences after its move to the Louvre in 1699.
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Turning Inwards and Outwards in the Global Eighteenth Century Art History Pub Date : 2022-04-01 Josefine Baark
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On the Home Front: Italian Art, 1944–1973, and the Hidden Abode of Cultural Reproduction Art History Pub Date : 2022-04-01 Jaleh Mansoor
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‘She engages us with a steady, cool look’: Creating the Field of Southeast Asian Art Art History Pub Date : 2022-04-01 Ashley Thompson
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A Timeless, Eternal World Realized in Humble Materials Art History Pub Date : 2022-04-01 Colin Rhodes