Painted vases featuring theatrical themes are common among the objects found in tombs of ancient Apulia in southern Italy. One of the recurring themes selected for the decoration of this corpus is the myth of Iphigenia, the daughter of Agamemnon whose sacri fi ce was required by Artemis in order to enable the Trojan expedition. This subject appears often in a variety of media such as wall painting and sculpture, but it features with particular frequency in painted vases produced in the fourth century BCE in Magna Graecia. This essay considers a series of fourth-century south Italian vases that depict the story of Iphigenia, revealing connections between the myth, its various dramatic iterations, and their pictorial representations on funerary ceramics. I argue that the version of the myth introduced by Euripides in his play Iphigenia among the Taurians was particularly suitable for the decoration of funerary vessels since it served as a metaphor for averting death. Because of the role Iphigenia played in rituals associated with the life cycles of women in the ancient Greek world, I also suggest that vases depicting her story might have been produced speci fi cally for female burials. This argument is founded on an in-depth iconographic analysis of six vessels from Apulia, Campania, and Basilicata, in conjunction with an examination of textual and archaeological evidence connected to the myth and cult of Iphigenia/Artemis. I conclude by contextualizing the vases ’ imagery and usage within Greek funerary traditions both in mainland Greece and in the Greek West. Studying these vessels as a group for the fi rst time, with a combined focus on their iconography and functions, reveals new aspects of their making and meanings, and allows us to better understand the popularity of the myth of Iphigenia in the funerary record of Magna Graecia. South Italian wares: Interactions between
{"title":"The myth of Iphigenia in fourth-century funerary vases of southern Italy","authors":"Gretel Rodríguez","doi":"10.1086/719761","DOIUrl":"https://doi.org/10.1086/719761","url":null,"abstract":"Painted vases featuring theatrical themes are common among the objects found in tombs of ancient Apulia in southern Italy. One of the recurring themes selected for the decoration of this corpus is the myth of Iphigenia, the daughter of Agamemnon whose sacri fi ce was required by Artemis in order to enable the Trojan expedition. This subject appears often in a variety of media such as wall painting and sculpture, but it features with particular frequency in painted vases produced in the fourth century BCE in Magna Graecia. This essay considers a series of fourth-century south Italian vases that depict the story of Iphigenia, revealing connections between the myth, its various dramatic iterations, and their pictorial representations on funerary ceramics. I argue that the version of the myth introduced by Euripides in his play Iphigenia among the Taurians was particularly suitable for the decoration of funerary vessels since it served as a metaphor for averting death. Because of the role Iphigenia played in rituals associated with the life cycles of women in the ancient Greek world, I also suggest that vases depicting her story might have been produced speci fi cally for female burials. This argument is founded on an in-depth iconographic analysis of six vessels from Apulia, Campania, and Basilicata, in conjunction with an examination of textual and archaeological evidence connected to the myth and cult of Iphigenia/Artemis. I conclude by contextualizing the vases ’ imagery and usage within Greek funerary traditions both in mainland Greece and in the Greek West. Studying these vessels as a group for the fi rst time, with a combined focus on their iconography and functions, reveals new aspects of their making and meanings, and allows us to better understand the popularity of the myth of Iphigenia in the funerary record of Magna Graecia. South Italian wares: Interactions between","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"31 - 47"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41776016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A life-size carved wooden hand partially covered with remnants of whitish bark cloth, collected on Easter Island during the visit of HMS Topaze in 1868, was located in a private collection ( fi gs. 1 – 2). To the best of our knowledge, this is the fourth traditional carved wooden hand known from Easter Island. 1 In this article we present a preliminary description of this object, which includes painted tattoo-like patterns and inscribed rongorongo -like glyphs. Relative to the latter, we address the question of whether or not any other objects inscribed with rongorongo -like glyphs were collected during the visit of HMS Topaze . In a subsequent complementary article we will offer an analysis of the tattoo-like patterns and rongorongo -like glyphs found on the wooden hand, along with notes on the cultural and religious signi fi cance of the hand for the pre-Christian Rapanui.
{"title":"A wooden hand from Easter Island (Rapa Nui), part I","authors":"R. Schoch, Tomi S. Melka","doi":"10.1086/721156","DOIUrl":"https://doi.org/10.1086/721156","url":null,"abstract":"A life-size carved wooden hand partially covered with remnants of whitish bark cloth, collected on Easter Island during the visit of HMS Topaze in 1868, was located in a private collection ( fi gs. 1 – 2). To the best of our knowledge, this is the fourth traditional carved wooden hand known from Easter Island. 1 In this article we present a preliminary description of this object, which includes painted tattoo-like patterns and inscribed rongorongo -like glyphs. Relative to the latter, we address the question of whether or not any other objects inscribed with rongorongo -like glyphs were collected during the visit of HMS Topaze . In a subsequent complementary article we will offer an analysis of the tattoo-like patterns and rongorongo -like glyphs found on the wooden hand, along with notes on the cultural and religious signi fi cance of the hand for the pre-Christian Rapanui.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"303 - 317"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Books received October 2021–October 2022","authors":"Catherine Hansen","doi":"10.1086/723604","DOIUrl":"https://doi.org/10.1086/723604","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"351 - 352"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43733005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The hermeneutic directive to interpret from context is far more ambiguous than it may at fi rst seem. . . . Every material aspect of an object has implications that change the hermeneutical connections, that is, “ contexts, ” among which one has a choice. Context is, therefore, by and large, a hypothetical concept.
{"title":"Documentation and decontextualization in Nora Okka’s spolia","authors":"Eric W. Driscoll","doi":"10.1086/721851","DOIUrl":"https://doi.org/10.1086/721851","url":null,"abstract":"The hermeneutic directive to interpret from context is far more ambiguous than it may at fi rst seem. . . . Every material aspect of an object has implications that change the hermeneutical connections, that is, “ contexts, ” among which one has a choice. Context is, therefore, by and large, a hypothetical concept.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"202 - 213"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48145511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Christopher Woods and Chicago, with generous for Culture and Society. in particular read and co Stauder was also helpful evidence. In their unpub been cited in Piers Kelly Writing Systems as Tech Asia,” Terrain 70 (2018) Study of Writing,” Histor https://hiphilangsci.net/2 Silvia Ferrara, “Another in the Aegean and the E Relations between Scrip M. Steele (Oxford, 2018 1. Thomas More, Lib festivus, de optimo reip[ (Louvain, 1516). 2. On the introducto Wooden, “A Reconsider Utopia,” Albion 10 (197 3. Budé quoted in W 154.
Christopher Woods和Chicago，为文化和社会慷慨解囊。特别是阅读和合作史陶德也是有用的证据。Piers Kelly写作系统在他们的unpub中被引用为Tech Asia，“Terrain 70（2018）写作研究”，Historhttps://hiphilangsci.net/2Silvia Ferrara，“另一个在爱琴海和斯克里普·M·斯蒂尔之间的E关系”（牛津，2018 1。托马斯·莫尔，《自由女神》[（鲁万，1516）.2。关于伍登的引言，“重新思考乌托邦”，阿尔比恩10（1973。W 154引用了巴德的话。
{"title":"Sourcing novelty","authors":"S. Houston, Felipe Rojas","doi":"10.1086/722709","DOIUrl":"https://doi.org/10.1086/722709","url":null,"abstract":"Christopher Woods and Chicago, with generous for Culture and Society. in particular read and co Stauder was also helpful evidence. In their unpub been cited in Piers Kelly Writing Systems as Tech Asia,” Terrain 70 (2018) Study of Writing,” Histor https://hiphilangsci.net/2 Silvia Ferrara, “Another in the Aegean and the E Relations between Scrip M. Steele (Oxford, 2018 1. Thomas More, Lib festivus, de optimo reip[ (Louvain, 1516). 2. On the introducto Wooden, “A Reconsider Utopia,” Albion 10 (197 3. Budé quoted in W 154.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"250 - 266"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47963752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
1. The Sumerian literary text Gilgamesh and Agga, for example, occurs within or just outside of the walls of the city; see edition in Römer (1980). On the division between the country and city, see Richardson (2007). Berlin (1983) applies a distinction between “our settlement” and “our country,” with many fantastical settings occurring Inevitably they find their way into the forest. It is there that they lose and find themselves. It is there that they gain a sense of what is to be done. The forest is always large, immense, great, and mysterious. No one ever gains power over the forest, but the forest possesses the power to change lives and alter destinies. (Zipes 1987, 66)
{"title":"Gorgeous to gaze upon","authors":"Gina Konstantopoulos","doi":"10.1086/721815","DOIUrl":"https://doi.org/10.1086/721815","url":null,"abstract":"1. The Sumerian literary text Gilgamesh and Agga, for example, occurs within or just outside of the walls of the city; see edition in Römer (1980). On the division between the country and city, see Richardson (2007). Berlin (1983) applies a distinction between “our settlement” and “our country,” with many fantastical settings occurring Inevitably they find their way into the forest. It is there that they lose and find themselves. It is there that they gain a sense of what is to be done. The forest is always large, immense, great, and mysterious. No one ever gains power over the forest, but the forest possesses the power to change lives and alter destinies. (Zipes 1987, 66)","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"69 - 80"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49143976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The aporia of cinders and the aporetic structure of Hiroshima mon amour","authors":"T. Hildebrandt","doi":"10.1086/721155","DOIUrl":"https://doi.org/10.1086/721155","url":null,"abstract":"The opening image: Fallout","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"133 - 140"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45413070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the late sixteenth century, the monumental new cupola of St. Peter’s Basilica was normally the first glimpse of Rome noted by visitors arriving from the north along the Via Francigena. This route followed the ancient Via Cassia through southern Tuscany from Siena into Lazio, where the travelers joined the Via Flaminia just north of the Tiber (fig. 1). From there, they crossed over the Milvian Bridge, where the emperor Maxentius was defeated by Constantine in 312 and where they often began their reflection upon the city’s ancient heritage. In the space between these two views of Rome’s modernity and antiquity, visitors traversed the threshold between the seemingly depopulated arid landscape of the agro romano, the meandering flow of the Tiber, and the cultivated villas (vigne) emerging at the periphery of the city. After the bridge, the suddenly rectilinear trajectory of the Via Flaminia to the Porta del Popolo ushered the traveler onto the expanding network of newly laid out avenues that were linking the city’s ancient monuments to its aspiring triumphant modernity. These landscapes, waterscapes, and cityscapes constituted three intersecting ecologies that were alternately explored, described, lamented, and celebrated by visitors, whose journeys stitched together multiple and often opposing narratives of the transforming city. While papal planners were designing Rome’s possible futures, foreigners—whether humanists, diplomats, or artists—were developing ways of representing both the degradation and the regeneration of its topographies as a series of interconnected itineraries. This study, therefore, traces the ways in which a range of official design technologies and individual representational practices connected the ecologies of early modern Rome. It argues that these practices were centered
从16世纪末开始，圣彼得大教堂的新圆顶通常是从北部沿着Via Francigena抵达的游客第一次看到罗马。这条路线沿着古老的卡西亚大街穿过托斯卡纳南部，从锡耶纳进入拉齐奥，在那里，游客们加入了台伯河以北的弗拉米尼亚大街（图1）。从那里，他们跨过了米尔维安大桥，312年，皇帝马克森提乌斯在那里被君士坦丁击败，他们经常在那里开始反思这座城市的古老遗产。在罗马现代性和古代性这两种观点之间的空间里，游客们穿过了看似人烟稀少的罗马农业干旱景观、蜿蜒的台伯河和城市外围出现的耕种别墅（小插曲）之间的门槛。桥后，弗拉米尼亚大街（Via Flaminia）到波波洛门（Porta del Popolo。这些景观、水景和城市景观构成了三个交叉的生态系统，游客们交替探索、描述、哀叹和庆祝，他们的旅程将这座正在转型的城市的多种且往往相反的叙事拼接在一起。当教皇的规划者正在设计罗马可能的未来时，外国人——无论是人文主义者、外交官还是艺术家——都在发展将其地形的退化和再生表现为一系列相互关联的行程的方式。因此，这项研究追溯了一系列官方设计技术和个人表征实践与现代罗马早期生态的联系方式。它认为这些做法是以
{"title":"Early modern Rome on the move","authors":"Niall Atkinson, Susanna Caviglia","doi":"10.1086/723398","DOIUrl":"https://doi.org/10.1086/723398","url":null,"abstract":"From the late sixteenth century, the monumental new cupola of St. Peter’s Basilica was normally the first glimpse of Rome noted by visitors arriving from the north along the Via Francigena. This route followed the ancient Via Cassia through southern Tuscany from Siena into Lazio, where the travelers joined the Via Flaminia just north of the Tiber (fig. 1). From there, they crossed over the Milvian Bridge, where the emperor Maxentius was defeated by Constantine in 312 and where they often began their reflection upon the city’s ancient heritage. In the space between these two views of Rome’s modernity and antiquity, visitors traversed the threshold between the seemingly depopulated arid landscape of the agro romano, the meandering flow of the Tiber, and the cultivated villas (vigne) emerging at the periphery of the city. After the bridge, the suddenly rectilinear trajectory of the Via Flaminia to the Porta del Popolo ushered the traveler onto the expanding network of newly laid out avenues that were linking the city’s ancient monuments to its aspiring triumphant modernity. These landscapes, waterscapes, and cityscapes constituted three intersecting ecologies that were alternately explored, described, lamented, and celebrated by visitors, whose journeys stitched together multiple and often opposing narratives of the transforming city. While papal planners were designing Rome’s possible futures, foreigners—whether humanists, diplomats, or artists—were developing ways of representing both the degradation and the regeneration of its topographies as a series of interconnected itineraries. This study, therefore, traces the ways in which a range of official design technologies and individual representational practices connected the ecologies of early modern Rome. It argues that these practices were centered","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"100 - 119"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43566113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The two works under consideration are representations of the artist’s studio separated by roughly five hundred years. Albrecht Dürer’s Melencolia I and Bruce Nauman’s Mapping the Studio I (Fat Chance John Cage) are allegories of aesthetic practice that respectively mark the emergence of the modern idea of the studio and of the studio’s demise. Each work conjures the studio as a province of activity in seclusion with specific attention to the artist as maker and thinker. Who is the author of a work in which the conventions of authorship are undermined by ambivalence or doubt? The question exposes a paradox identifying a limitation within the epistemology of making: that the artwork, as an artifact of material, technical, and formal means, can make only uncertain claims to knowledge, including claims to the artist’s self-knowledge. The following text is offered as a variation on the usual means of reflecting on the meaning of works of art. Our premise is that different voices might usefully illuminate a general problem by writing in response to one another about different objects in different places and times that seem to harbor a related question. The respective stages of this exchange are meant to resonate without, however, claiming to build a particular historical connection or a uniform theory of art-making. Rather, each voice undertakes a separate investigation of the properties of an object inspired by the other, each step in the exchange initiated to some degree by the preceding one. The (paradoxical) consequence of this procedure proves to be a gradual convergence of themes as the objects in question become more precisely defined and therefore increasingly discrete. 1. Michael Auping, “A Thousand Words: Bruce Nauman Talks about Mapping the Studio,” Artforum 40, no. 7 (March 2002): 120. For basic information about the work and important descriptive accounts, see Lynne Cooke, Bruce Nauman, “Mapping the Studio I (Fat Chance John Cage),” exhibition brochure, Dia Center for the Arts (New York, 2002); and Christine Litz, “At Night All Cats Are Grey? Mysterious Elements in Bruce Nauman’s Work,” in Bruce Nauman: Mapping the Studio I (Fat Chance John Cage), exh. cat., Museum Ludwig (Cologne, 2002), 21–27. The camera
这两幅作品是艺术家工作室的代表，间隔了大约500年。Albrecht d rer的《Melencolia I》和Bruce Nauman的《Mapping the Studio I》(Fat Chance John Cage)是美学实践的隐喻，分别标志着现代工作室理念的出现和工作室的消亡。每件作品都让工作室成为一个隐居的活动场所，特别关注艺术家作为创造者和思想家的身份。谁是一个作品的作者，在这个作品中，作者的惯例被矛盾或怀疑所破坏?这个问题暴露了一个悖论，即在制作的认识论中存在局限性:艺术品作为一种材料、技术和形式手段的人工制品，只能对知识提出不确定的要求，包括对艺术家自我知识的要求。下面这篇文章是作为对艺术作品的意义进行反思的通常方法的一种变体。我们的前提是，不同的声音可能会通过对不同地点和时间的不同物体的回应来有效地阐明一个普遍的问题，这些物体似乎包含了一个相关的问题。然而，这种交流的各个阶段都是为了引起共鸣，而不是声称建立特定的历史联系或统一的艺术创作理论。更确切地说，每一种声音都对受另一种声音启发的对象的属性进行单独的研究，在某种程度上，交流中的每一步都是由前一个声音发起的。这个过程的(矛盾的)结果被证明是主题的逐渐收敛，因为所讨论的对象变得更加精确地定义，因此越来越离散。1. 迈克尔·奥平，《千言万语:布鲁斯·瑙曼谈绘制工作室》，《艺术论坛》第40期，第1期。7(2002年3月):120。关于作品的基本信息和重要的描述，见Lynne Cooke, Bruce Nauman，“Mapping the Studio I (Fat Chance John Cage)”，展览手册，Dia Center For the Arts(纽约，2002);克里斯汀·利茨的《晚上所有的猫都是灰色的?》Bruce Nauman作品中的神秘元素”，出自Bruce Nauman: Mapping the Studio I (Fat Chance John Cage)。猫。，路德维希博物馆(科隆，2002)，21-27。相机
{"title":"The melancholy studio","authors":"Jeffrey S. Weiss, Peter F. Parshall","doi":"10.1086/720753","DOIUrl":"https://doi.org/10.1086/720753","url":null,"abstract":"The two works under consideration are representations of the artist’s studio separated by roughly five hundred years. Albrecht Dürer’s Melencolia I and Bruce Nauman’s Mapping the Studio I (Fat Chance John Cage) are allegories of aesthetic practice that respectively mark the emergence of the modern idea of the studio and of the studio’s demise. Each work conjures the studio as a province of activity in seclusion with specific attention to the artist as maker and thinker. Who is the author of a work in which the conventions of authorship are undermined by ambivalence or doubt? The question exposes a paradox identifying a limitation within the epistemology of making: that the artwork, as an artifact of material, technical, and formal means, can make only uncertain claims to knowledge, including claims to the artist’s self-knowledge. The following text is offered as a variation on the usual means of reflecting on the meaning of works of art. Our premise is that different voices might usefully illuminate a general problem by writing in response to one another about different objects in different places and times that seem to harbor a related question. The respective stages of this exchange are meant to resonate without, however, claiming to build a particular historical connection or a uniform theory of art-making. Rather, each voice undertakes a separate investigation of the properties of an object inspired by the other, each step in the exchange initiated to some degree by the preceding one. The (paradoxical) consequence of this procedure proves to be a gradual convergence of themes as the objects in question become more precisely defined and therefore increasingly discrete. 1. Michael Auping, “A Thousand Words: Bruce Nauman Talks about Mapping the Studio,” Artforum 40, no. 7 (March 2002): 120. For basic information about the work and important descriptive accounts, see Lynne Cooke, Bruce Nauman, “Mapping the Studio I (Fat Chance John Cage),” exhibition brochure, Dia Center for the Arts (New York, 2002); and Christine Litz, “At Night All Cats Are Grey? Mysterious Elements in Bruce Nauman’s Work,” in Bruce Nauman: Mapping the Studio I (Fat Chance John Cage), exh. cat., Museum Ludwig (Cologne, 2002), 21–27. The camera","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"318 - 350"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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