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Mutable Bodies: Abstraction and Modern Dance in 1960s Argentina Oxford Art Journal (IF 0.1) Pub Date : 2022-04-22 Mara Polgovsky Ezcurra
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Adolph Menzel and the Site of Seeing in Nineteenth-Century Drawing Oxford Art Journal (IF 0.1) Pub Date : 2022-04-21 Kirsten J Burke
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Art histories of corporate imperialism and racial capitalism Oxford Art Journal (IF 0.1) Pub Date : 2022-04-07 Edwin Coomasaru
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Complicities with the Camera: The Performance and Installation Art of Carlos Leppe Oxford Art Journal (IF 0.1) Pub Date : 2022-04-07 Christie Johnson
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Environment and Emotion – Dual Pathways to the Art History of the Subcontinent Oxford Art Journal (IF 0.1) Pub Date : 2022-03-30 Yuthika Sharma
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Make, Parade, Punish: The Life and Death of Effigies in Radical Politics in 1790s England Oxford Art Journal (IF 0.1) Pub Date : 2022-03-29 Georgia Haseldine
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Correction to: Figino’s Efficacy: Portraits, Votives, and Their Makers after Trent Oxford Art Journal (IF 0.1) Pub Date : 2022-03-11 Grace Harpster
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Notes on Contributors Oxford Art Journal (IF 0.1) Pub Date : 2022-02-02
Katherine Fein is a PhD candidate in the Department of Art History and Archaeology at Columbia University. She specializes in the visual and material culture of North America and the Atlantic world, and she is currently at work on a dissertation about nudity, race, and ecology in nineteenth-century art.
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Notes on Contributors Oxford Art Journal (IF 0.1) Pub Date : 2022-02-02
Kirsten J. Burke is a PhD candidate in History of Art and Architecture at Harvard University, where she studies early modern northern European art. Her dissertation, ‘Johann Neudörffer and the Art of Writing in Renaissance Germany,’ explores the art and science of Neudörffer’s calligraphic profession and the broader role of the ‘arts of writing’ in early modern Europe. Her research also investigates
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Never Still! Nonhuman Life in Charles Demuth’s Green Pears Oxford Art Journal (IF 0.1) Pub Date : 2022-01-14 Lazevnick A.
Like a parenthesis in a sentence, still life situates itself as a pause in transitive reality. Like the cupping of a hand, it gathers and holds before us a small portion of the flux. – Bonnie Costello, Planets on Tables
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Roland Betancourt - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages Oxford Art Journal (IF 0.1) Pub Date : 2021-12-30 Gleeson J.
BetancourtRoland - Byzantine Intersectionality: Sexuality, Gender, and Race in the Middle Ages (Princeton: Princeton University Press, 2020), 8 color + 50 b/w illus. 288 pp., ISBN 9780691179452, hardback $35.00/£28.00
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‘Here, in Her Hairs/The Painter Plays the Spider …’: Spider Metaphors in William Shakespeare and Nicholas Hilliard Oxford Art Journal (IF 0.1) Pub Date : 2021-12-11 Hall J.
The casket scene in Shakespeare’s Merchant of Venice (1596–1598) is the supreme audio–visual manifestation of the cultic and erotic power of Elizabethan portraiture. The late father of Portia, who is an only child, has inserted a clause into his will stipulating a test for her suitors: to marry his daughter they must select one of three caskets made, respectively, of gold, silver, and lead. Bassanio
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Notes on Contributors Oxford Art Journal (IF 0.1) Pub Date : 2021-12-11
Thomas Balfe received his PhD from The Courtauld Institute of Art, University of London (2014). He is an art historian specialising in easel painting and graphic art, c.1550 – c.1750. His research areas are animals, hunting, fables, food, and human–animal inversion imagery, as well as vocabularies of life-likeness in Early Modern art writing. He recently completed a Teaching Fellowship (History of
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Corrigendum to: Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence Oxford Art Journal (IF 0.1) Pub Date : 2021-12-13 Eliza Tan
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Making a Scene Oxford Art Journal (IF 0.1) Pub Date : 2021-11-09 Highmore B.
CrowThomas, The Hidden Mod in Modern Art: London: 1957–1969 – Searching for the Young Soul Rebels ( London: Paul Mellon Centre, 2020), 140 colour and b&w illns, 280 pp., ISBN: 9781913107130, hardback, £25.00.
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Rock-Bound: Fitz Henry Lane in 1862 Oxford Art Journal (IF 0.1) Pub Date : 2021-11-05 Robbins N.
College Art Association10.13039/100005610American Antiquarian Society10.13039/100005279
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Fernand Léger’s Cinema of Pictorial Equivalence (and the Return to Disorder) Oxford Art Journal (IF 0.1) Pub Date : 2021-11-05 Hughes G.
Society for Cinema and Media Studies
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Philip Guston Now Oxford Art Journal (IF 0.1) Pub Date : 2021-10-14 Baker S.
CooperHarryet al. (eds), Philip Guston Now (New York: Distributed Art Publishers, 2020), 275 colour illns, 280pp., ISBN 9781942884569, hardback $60.
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Pulverized Regions of Time Oxford Art Journal (IF 0.1) Pub Date : 2021-10-11 Heuer C.
WoodChristopher S..A History of Art History (Princeton, NJ: Princeton University Press, 2019), 24 b&w illns, 472 pp., ISBN 9780691156521, hardback, £30.
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‘A Show Opened to All Artists’: The 1970 Liberated Venice Biennale and the Production of Dissent Oxford Art Journal (IF 0.1) Pub Date : 2021-10-08 Wallace C.
In 1970, a group of New York City artists sought to ‘liberate’ the world’s largest art exhibition – the Venice Biennale – reimagining it as a radical site for political dissent. Their target, the United States of America’s pavilion, had promised more than just an exhibition, claiming that its show of print works, accompanied by an active workshop, would provide ‘a non-political setting for direct exchange
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Art Collectives, Progress, and Forgetting in European Art after WWII Oxford Art Journal (IF 0.1) Pub Date : 2021-10-08 Woodruff L.
GalimbertiJacopo, Individuals against Individualism: Art Collectives in Western Europe (1956–1969) (Liverpool:Liverpool University Press, 2017), 84 colour and 61 b&w illns, 384 pp., ISBN 9781781383193, paperback $34.95/£19.95.
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Eloquence and Affect in Jacqueline Jung’s Eloquent Bodies Oxford Art Journal (IF 0.1) Pub Date : 2021-10-05 Binski P.
JungJacqueline E., Eloquent Bodies. Movement, Expression, and the Human Figure in Gothic Sculpture (London: Yale University Press, 2020) 211 colour and 322 B&W illns, 340 pp., ISBN 9780300214017, hardback, £60.
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Thomas Cole’s Double View of Mount Holyoke Oxford Art Journal (IF 0.1) Pub Date : 2021-10-02 Andrew Menard
When Thomas Cole first unpacked his easel in the Catskill Mountains, and began to paint the scenes that would make him America’s most influential landscape artist, there was still a close relationship between the United States and Britain. Though the War of 1812 was a bitter conflict regarding all remaining British claims to North America, it had ended in stalemate a decade earlier and neither side
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Review of Christopher Heuer Into the White Oxford Art Journal (IF 0.1) Pub Date : 2021-09-25 Davidson P.
HeuerChristopher P, Into the White: The Renaissance Arctic and the End of the Image (Chicago, IL: Zone Books, 2019), 70 black and white illustrations in the text, 262pp, ISBN 9781942130147, Hardcover, £25.00.
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‘With a Hem, Call Him In’: Human Authority and the Animal Gaze in the Flemish Trophy Piece Oxford Art Journal (IF 0.1) Pub Date : 2021-09-25 Balfe T.
In the wake of the Animal Turn of the 1990s, paintings depicting the spoils of the hunt have attracted renewed attention from scholars of early modern art and the history of ideas.11 Building on older accounts of hunting imagery that stressed its role in asserting social status, recent studies have explored the interplay in these works between their presumed violence and new intellectual questions
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Passionate Detachment Oxford Art Journal (IF 0.1) Pub Date : 2021-09-25 Helm-Grovas N.
In section two of Laura Mulvey and Peter Wollen’s 1977 film Riddles of the Sphinx, entitled ‘Laura speaking’, Mulvey is filmed in a static shot, sitting on a white chair in front of a black background, at a desk covered in objects, facing the camera (Fig. 1). It is a kind of self-portrait, elaborated with Wollen and the film’s crew. The objects include technologies of recording and playback (a microphone
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Thoroughly Modern Models Oxford Art Journal (IF 0.1) Pub Date : 2021-07-29 Samuel Raybone
CallenAnthea, Looking at Men: Art, Anatomy and the Modern Male Body (New Haven, CT: Yale University Press, 2018), 272 pp., 212 colour and b&w illns, ISBN 9780300112948, hardback, £45.
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Abstracts Oxford Art Journal (IF 0.1) Pub Date : 2021-07-29
The Urge to Disappear: Janet Cardiff’s Audio Walks in London and New York
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Notes on Contributors Oxford Art Journal (IF 0.1) Pub Date : 2021-07-29
Ruth Bretherick is Curator of Research and Public Engagement at The Fruitmarket Gallery, Edinburgh, where she has worked on the delivery of exhibitions and projects by Mark Wallinger, Jac Leirner, Lee Lozano, and Janet Cardiff and George Bures Miller, among others. She completed her PhD in History of Art at the University of Edinburgh in 2017, with a thesis entitled Pace, Rhythm, Repetition: Walking
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Hirschhorn’s Dilemma, or How Not to Ride Two Horses at Once Oxford Art Journal (IF 0.1) Pub Date : 2021-06-17 Lisa Lee
In a 2003 interview by Benjamin H.D. Buchloh, Thomas Hirschhorn clarified his typology of sculptural-architectural forms situated between high culture and mass culture, private sentiment and public expression. The Raymond Carver Altar, Piet Mondrian Altar, Ingeborg Bachmann Altar, and Otto Freundlich Altar take the form of spontaneous memorials that so often mark sites of tragic and violent death.
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Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Giancarla Periti
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Concrete Violence – Wolf Vostell’s Disasters of War Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Caroline Lillian Schopp
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Marcel Broodthaers, Poet in the Pop Trap. Archival Notes on an Artist’s Narrative Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Hannah Bruckmüller
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The Different Tenses of the Recent Past Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Alistair Rider
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Man in the Middle: Ingres’s Portrait of Louis-François Bertin at the Salon of 1833 and the Problem of the Juste Milieu Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Richard Wrigley
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Print and the Early Modern Playing Card Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Kirsten J. Burke
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Figino’s Efficacy: Portraits, Votives, and their Makers after Trent Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Grace Harpster
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Migrant Mother: Histories and Mythologies Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Kimberly Schreiber
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Anna of Denmark’s Pointed Elbow: Refiguring Rank and Gender in the Early Modern Court Portrait Oxford Art Journal (IF 0.1) Pub Date : 2021-08-01 Sara Ayres
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Shot by the Artist Oxford Art Journal (IF 0.1) Pub Date : 2021-05-03 Tuan Andrew Nguyen
I got into a scuffle and broke my right hand, my dominant hand, after the first week of graduate school. Not being able to make drawings or objects and feeling the weight of private school tuition piling up, I returned to performance art to keep myself sane and busy enough to prevent myself from obsessing over how much money I was wasting. Doing little performances in my studio, enacting little actions
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between the voice between the words between the work between us1 Oxford Art Journal (IF 0.1) Pub Date : 2021-05-03 susan pui san lok
In the back of my filing cabinet, I find some old words, set to paper by my twenty-something self.22Earnest, idealistic, confident in the twisting and bending of language and senses –the ink holds, bold and intact,steadfast and certain –my recognition is coupled with disbelief.- / ? ! ' · “ ” ‘ ’ How time and words flew – no sooner said, then undone, lightfast yet eluding, escaping it seems (– or is
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Possessing the Voice: Ventriloquism and Agency in Apichatpong Weerasethakul’s Cemetery of Splendour (2015) Oxford Art Journal (IF 0.1) Pub Date : 2021-05-03 Clare Veal
As a prominent figure in independent world cinema and, increasingly, contemporary art, Apitchapong Weerasethakul’s practice is situated at the interstices of film, photography, video and installation. His work has been compellingly analysed in terms of its queer politics, its exploration of animist ontologies, and its references to the cultural and political histories of Thailand’s northeastern and
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Introduction: Voice as Form Oxford Art Journal (IF 0.1) Pub Date : 2021-05-03 Pamela N Corey, Wenny Teo
In recent years, the rallying cry to ‘decolonise art history’ has become a mainstay of critical debates in the academy, public institutions, and on social media; calling attention to the need to acknowledge unspoken biases rooted in the legacies of imperialism, interrogate the discipline’s exclusionary mechanisms of power, and to give voice to previously marginalised or even silenced subjectivities
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Sounds of Silence: Conducting Technology and Nature Oxford Art Journal (IF 0.1) Pub Date : 2021-05-03 Emilia Terracciano
Early technological innovations linked to recording and communication, such as the radio and telephone, inaugurated research into the perception and cognition of vibrational continua connecting sound to infrasound, and other inaudible frequencies.11 These inventions also encouraged the belief that humans could access anomalous zones of transmission between the domains of human and non-human, of the
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Notes on Contributors Oxford Art Journal (IF 0.1) Pub Date : 2021-05-03
Lawrence Chua is a historian of the global modern built environment with a focus on Asian architecture and urban culture. He is an assistant professor at the School of Architecture, Syracuse University and a Scholar in Residence at the Getty Research Institute for 2020–2021. He has been a Marie S. Curie FCFP fellow at the Freiburg Institute for Advanced Studies at the Albert-Ludwigs-Universität, Freiburg
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Valuing the Work of Jaume Huguet: A Painter and his Materials Oxford Art Journal (IF 0.1) Pub Date : 2021-03-27 Robert Maniura
The Consecration of Saint Augustine in the Museu Nacional d’Art de Catalunya in Barcelona (Fig. 1) comes from the high altar retable of the church of Sant Agustí Vell in the city, whose paintings were commissioned from Jaume Huguet in 1463, but not completed until 1486.11 The panel shows the imposing figure of the saint in elaborate vestments presented full face, enthroned before a cloth of honour
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Too Sexy for the nude Oxford Art Journal (IF 0.1) Pub Date : 2021-02-24 Tom Nichols
RubinPatricia Lee, Seen From Behind: Perspectives on the Male Body and Renaissance Art (New Haven, CT: Yale University Press, 2018) 288 pp., £50, Hardcover, ISBN 978-0-300-236552
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David Medalla: Dreams of Sculpture Oxford Art Journal (IF 0.1) Pub Date : 2021-02-19 Chanon Kenji Praepipatmongkol
David Medalla’s early-1960s sculptures appear distinctly low-tech. Cloud Canyons, first exhibited on the balcony of Signals Gallery in London in 1964, consists of five plywood columns, each housing and concealing an air pump connected to a vat of soapy water (Fig. 1). Soap suds fill up the boxy structures and eventually spew forth from the circular orifices on top in a slow reverie-inducing rhythm
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The Urge to Disappear: Janet Cardiff’s Audio Walks in London and New York Oxford Art Journal (IF 0.1) Pub Date : 2021-01-23 Ruth Bretherick
It is twenty years since Canadian artist Janet Cardiff made her audio walk for the East End of London in 1999. She created her last audio walk in 2006, turning to the creation of video walks in 2012.1 Now that she has apparently left the form behind in favour of new technology, I want to turn again to the audio walks, which have not been significantly revisited by art historians since they were first
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Affiliations of Postcolonial Art History Oxford Art Journal (IF 0.1) Pub Date : 2021-01-13 Dadi I.
MathurSaloni, A Fragile Inheritance: Radical Stakes in Contemporary Indian Art (Durham, NC: Duke University Press, 2019). Open access. DOI: https://doi.org/10.1215/9781478003380, ISBN electronic: 978-1-4780-0338-0.
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Art History at the Water’s Edge Oxford Art Journal (IF 0.1) Pub Date : 2021-01-11 Theo Gordon
WeinbergJonathan, Pier Groups: Art and Sex Along the New York Waterfront (University Park, Pennsylvania: Pennsylvania State University Press, 2019), 232 pp., 34 colour/66 b&w illus., 9780271082172, $34.95.
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Photographic Iconoclasm: Lee Friedlander’s The American Monument Oxford Art Journal (IF 0.1) Pub Date : 2021-01-09 Fiona Allen, Simon Constantine
On 16 August 2017, the Mayor of Baltimore, Catherine Pugh, ordered the removal of a monument to Generals Robert E. Lee and Stonewall Jackson from Wyman Park Dell, a public park in the centre of the city. With almost no prior notice and no definitive plan for their future, the figures were taken down overnight and moved to an unspecified location. In addition to the monument to Lee and Jackson, Pugh
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Engendering the Buddhist State Oxford Art Journal (IF 0.1) Pub Date : 2021-01-06 Lawrence Chua
ThompsonAshley, Engendering the Buddhist State: Territory, Sovereignty and Sexual Difference in the Inventions of Angkor, (London, Routledge: 2016) xvi + 203 pp., US$145.00, Hardback ISBN 978 0 4156 7772 1 )
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Voicing the Sociality of Sound from a Deaf Perspective: Christine Sun Kim's Plenitude of Silence Oxford Art Journal (IF 0.1) Pub Date : 2020-12-13 Eliza Tan
We all have realities that we live to defend. Mine is voice.∼ Christine Sun Kim.11
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Mouth Work: Writing the Voice of the Mother Tongue in the Art of Theresa Hak Kyung Cha Oxford Art Journal (IF 0.1) Pub Date : 2020-12-03 Kimberly K Lamm
Formally austere but dense with sensation and longing, Theresa Hak Kyung Cha’s single-channel video Mouth to Mouth (1975) is an eight-minute meditation on the significance of language in Korea’s colonial and diasporic history. Composed of three parts that feature English letters, the vowel graphemes of Han’gŭl (the phonetic script of the Korean alphabet), and an image of a mouth moving in and out of
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Toward a Horizon of Un-Knowing: Voice, Aurality, and the Politics of Identification in the Art of Vong Phaophanit and Claire Oboussier Oxford Art Journal (IF 0.1) Pub Date : 2020-11-28 Pamela N Corey
We spoke of Keng Kok,the town my mother’s family originates from,of the turtles who live in a lake there.They will emerge from the lake only with the singing of a certain song.The turtles had names, such asLittle Brother, Older Sister.I remember the song.It sounded like the prayer from a Baci.11
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Kinderheim, Heim, Stammheim: On Gender, Generation, and the ‘Terrorist Woman’ in Gerhard Richter’s October 18, 1977 Oxford Art Journal (IF 0.1) Pub Date : 2020-06-15 Stanford H.
‘In trying not to be like my father, I ended up being even more like him’. Silke Maier-Witt, November 200111
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Notes on Contributors Oxford Art Journal (IF 0.1) Pub Date : 2020-05-09
Emma Barker is Senior Lecturer in Art History at the Open University. She is the author of Greuze and the Painting of Sentiment (Cambridge University Press, 2005) and has published numerous essays on eighteenth-century French art. She is the editor of Contemporary Cultures of Display (Yale University Press, 1999), Art and Visual Culture 1600-1850: Academy to Avant-Garde (Tate Publishing, 2012) and
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Connecting Threads: The Enduring Legacy of Craft in Liubov Popova’s Textile Practice Oxford Art Journal (IF 0.1) Pub Date : 2020-04-07 Vogel R.
Lopsided rounded forms and uneven black rectangles alternate and repeat, patterning an embroidered book cover by Liubov Popova from 1923–4 (Fig. 1). The slightly raised tufts of pale blue and rich black sit atop a creamy grosgrain support. Wobbling, thin parallel lines fill in the negative space, each of their hundreds of individual hand stiches visible to the eye. The book cover, produced simultaneous
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Tell All The Truth But Tell It Slant: Recovering the Presence of Angela Davis in Robert Barry’s Marcuse Piece Oxford Art Journal (IF 0.1) Pub Date : 2020-04-02 Canac S.
In the winter of 1970/1971, five galleries announced a series of exhibitions of the American Conceptual artist Robert Barry (b. 1936) by mailing invitation cards bearing the enigmatic sentence: ‘Some places to which we can come, and for a while “be free to think about what we are going to do” (Marcuse)’ (Figs 1 and 2).11 The meaning of this phrase is as elusive as its function is ambiguous. Indeed