In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.
{"title":"Revolutionary Painting and the Palestinian Revolution","authors":"Mohammed Chabaa","doi":"10.1162/artm_a_00367","DOIUrl":"https://doi.org/10.1162/artm_a_00367","url":null,"abstract":"In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537562","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}
In May 1970, Rasheed Araeen's work “8bS” appeared in Manufactured Art, a group exhibition dedicated to artistic engagements with industrial processes and advanced technology. Araeen's contribution, like many of his 1960–70s works, comprised lattice-like structures that engaged forms and techniques common to his professional training as a civil engineer. Like the Minimalist object, “8bS” deployed the grammar of productive techniques to structure artistic form, breaking with the compositional principles of formalist modernism and moving towards art beyond objecthood. Yet Araeen's contribution to Manufactured Art suggests that Araeen's structures also avoided the limitations of the Minimalist object's negative mimesis of technological infrastructure, while anticipating subsequent manoeuvres by artists such as Robert Morris. Revisiting Araeen's structures in Manufactured Art reinforces the singular importance of Araeen's structuralist modality, while provincializing US Minimalism as one of multiple trajectories working out of the stasis of modernist objecthood.
{"title":"Revisiting Rasheed Araeen's Structures: 8bS at Manufactured Art, 1970","authors":"Kylie Gilchrist","doi":"10.1162/artm_a_00362","DOIUrl":"https://doi.org/10.1162/artm_a_00362","url":null,"abstract":"In May 1970, Rasheed Araeen's work “8bS” appeared in Manufactured Art, a group exhibition dedicated to artistic engagements with industrial processes and advanced technology. Araeen's contribution, like many of his 1960–70s works, comprised lattice-like structures that engaged forms and techniques common to his professional training as a civil engineer. Like the Minimalist object, “8bS” deployed the grammar of productive techniques to structure artistic form, breaking with the compositional principles of formalist modernism and moving towards art beyond objecthood. Yet Araeen's contribution to Manufactured Art suggests that Araeen's structures also avoided the limitations of the Minimalist object's negative mimesis of technological infrastructure, while anticipating subsequent manoeuvres by artists such as Robert Morris. Revisiting Araeen's structures in Manufactured Art reinforces the singular importance of Araeen's structuralist modality, while provincializing US Minimalism as one of multiple trajectories working out of the stasis of modernist objecthood.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"27 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692780","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}
In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.
{"title":"Introduction to “Revolutionary Painting and the Palestinian Revolution,” by Mohammed Chabâa, and “Palestinian Artists and the Biennial,” from Toni Maraini's “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts” (Both 1974)","authors":"Alessandra Amin","doi":"10.1162/artm_a_00366","DOIUrl":"https://doi.org/10.1162/artm_a_00366","url":null,"abstract":"In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"27 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537567","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}
In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.
{"title":"Palestinian Artists and the Biennial, from “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts”","authors":"Toni Maraini","doi":"10.1162/artm_a_00368","DOIUrl":"https://doi.org/10.1162/artm_a_00368","url":null,"abstract":"In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"174 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537563","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}
In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist's book. In particular, I examine early editions produced by the artists Magali Lara and Yani Pecanins. Both prolific producers and staunch advocates for the artist's book medium, Lara and Pecanins wielded the book form's unique qualities in order to interrogate and validate aspects of women's experience that were often elided from both Mexican popular culture and the contemporaneous experimental art scene. Their early artist's books were conduits for feminist expression that pushed the limits of formal experimentation and forged new circuits of communication.
{"title":"“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico","authors":"Maggie Borowitz","doi":"10.1162/artm_a_00361","DOIUrl":"https://doi.org/10.1162/artm_a_00361","url":null,"abstract":"In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist's book. In particular, I examine early editions produced by the artists Magali Lara and Yani Pecanins. Both prolific producers and staunch advocates for the artist's book medium, Lara and Pecanins wielded the book form's unique qualities in order to interrogate and validate aspects of women's experience that were often elided from both Mexican popular culture and the contemporaneous experimental art scene. Their early artist's books were conduits for feminist expression that pushed the limits of formal experimentation and forged new circuits of communication.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"289 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537603","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}
The writings in this issue all share a preoccupation with the silences, disappearances, and contradictions within historical archives. Across national, regional, and diasporic spaces, they attend to the deliberate acts of remembering and forgetting that accompanied the political, economic, and technological shifts of the postwar era. Often violent, sometimes incomplete, these shifts required and begat different roles for artistic practice. The turbulence and legacies of 1968, the collective traumas of ethno-nationalist wars, or the ongoing struggles of liberation and neocolonialism have led artists in Mexico, Britain, the Balkans, and Palestine to revalue materials, approaches, and commitments to community.
{"title":"Editorial Statement","authors":"","doi":"10.1162/artm_e_00360","DOIUrl":"https://doi.org/10.1162/artm_e_00360","url":null,"abstract":"<span>The writings in this issue all share a preoccupation with the silences, disappearances, and contradictions within historical archives. Across national, regional, and diasporic spaces, they attend to the deliberate acts of remembering and forgetting that accompanied the political, economic, and technological shifts of the postwar era. Often violent, sometimes incomplete, these shifts required and begat different roles for artistic practice. The turbulence and legacies of 1968, the collective traumas of ethno-nationalist wars, or the ongoing struggles of liberation and neocolonialism have led artists in Mexico, Britain, the Balkans, and Palestine to revalue materials, approaches, and commitments to community.</span>","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537566","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}
Abstract This essay reviews two publications on Chinese contemporary art and its relation to the global through the lens of exhibition histories. The monograph Die chinesische Avantgarde und das Dispositiv der Ausstellung. Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung (The ‘Chinese avant-garde’ and the exhibition as dispositive. Constructing contemporary Chinese art in the global context) authored by Franziska Koch (2016), and the edited volume Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000, (2020) published in the Exhibition Histories series by Afterall Books. The former seeks to re-write the history of contemporary Chinese art exhibitions from a transcultural perspective with a particular focus on group exhibitions of contemporary Chinese art in the West. The latter focuses on exhibitions that took place in the wake of China's “global turn in the year 2000. It examines the first international Shanghai biennial and so called “satellite shows,” unofficial exhibitions that took place concurrently with the biennial. Both books examine how Chinese contemporary art's relation to the global has been conceptualized and operated differently at different times, in different yet often transculturally/transnationally entangled locales, socio-political contexts, power structures and geopolitical currents, in different discursive contexts, according to specific political and discursive conditions and agendas, and through various agents and institutions. This essay argue that by shedding light on specific locales, and their transnational and transcultural entanglements, and the various agents involved in the formation of global contemporary Chinese art both publications critically intervene into top-down universalist discourses of the “global contemporary.” Speaking from different positionalities, they seek to complicate narratives and understandings of contemporary global and Chinese art from the bottom-up. Informed by the post-colonial critique of historicism a bottom-up perspective they conceive of global art not as a universalistic concept, but as plural articulations of global contemporaneity conceived as “disjunctive unity,” a shared yet heterogenous present constituted by multiple contemporaneities.
摘要 本文通过展览史的视角，回顾了两本关于中国当代艺术及其与全球关系的出版物。专著《Die chinesische Avantgarde und das Dispositiv der Ausstellung.Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung》（"中国前卫艺术 "与展览的支配性。在全球背景下建构中国当代艺术》），以及由弗朗西斯卡-科赫（Franziska Koch）撰写的《不合作的当代人》（Uncooperative Contemporaries：2000年上海艺术展》（2020年），由Afterall Books出版的《展览史》系列。前者试图从跨文化的角度重新书写中国当代艺术展的历史，尤其关注中国当代艺术在西方的群展。后者侧重于中国 "2000 年全球转向 "之后举办的展览。该书研究了首届国际上海双年展和所谓的 "卫星展"，即与双年展同期举办的非官方展览。这两本书研究了中国当代艺术与全球的关系在不同时期，在不同的但往往是跨文化/跨国纠缠的地域、社会政治背景、权力结构和地缘政治潮流中，在不同的话语背景下，如何根据特定的政治和话语条件和议程，通过不同的代理人和机构，以不同的方式被概念化和运作。本文认为，通过揭示特定的地域及其跨国和跨文化的纠葛，以及参与全球当代中国艺术形成的各种媒介，这两本出版物批判性地介入了自上而下的 "全球当代 "普遍主义话语。它们从不同的立场出发，试图自下而上地复杂化对全球和中国当代艺术的叙述和理解。受后殖民主义对历史主义批判的启发，他们从自下而上的角度出发，认为全球艺术不是一个普遍主义的概念，而是全球当代性的多元表述，被视为 "互不关联的统一体"，是一个由多重当代性构成的共享但又异质的当下。
{"title":"Complicating Narratives of Contemporary Chinese Art as Global Art through the Lens of Exhibition Histories","authors":"Birgit Hopfener","doi":"10.1162/artm_r_00365","DOIUrl":"https://doi.org/10.1162/artm_r_00365","url":null,"abstract":"Abstract This essay reviews two publications on Chinese contemporary art and its relation to the global through the lens of exhibition histories. The monograph Die chinesische Avantgarde und das Dispositiv der Ausstellung. Konstruktionen chinesischer Gegenwartskunst im Spannungsfeld der Globalisierung (The ‘Chinese avant-garde’ and the exhibition as dispositive. Constructing contemporary Chinese art in the global context) authored by Franziska Koch (2016), and the edited volume Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000, (2020) published in the Exhibition Histories series by Afterall Books. The former seeks to re-write the history of contemporary Chinese art exhibitions from a transcultural perspective with a particular focus on group exhibitions of contemporary Chinese art in the West. The latter focuses on exhibitions that took place in the wake of China's “global turn in the year 2000. It examines the first international Shanghai biennial and so called “satellite shows,” unofficial exhibitions that took place concurrently with the biennial. Both books examine how Chinese contemporary art's relation to the global has been conceptualized and operated differently at different times, in different yet often transculturally/transnationally entangled locales, socio-political contexts, power structures and geopolitical currents, in different discursive contexts, according to specific political and discursive conditions and agendas, and through various agents and institutions. This essay argue that by shedding light on specific locales, and their transnational and transcultural entanglements, and the various agents involved in the formation of global contemporary Chinese art both publications critically intervene into top-down universalist discourses of the “global contemporary.” Speaking from different positionalities, they seek to complicate narratives and understandings of contemporary global and Chinese art from the bottom-up. Informed by the post-colonial critique of historicism a bottom-up perspective they conceive of global art not as a universalistic concept, but as plural articulations of global contemporaneity conceived as “disjunctive unity,” a shared yet heterogenous present constituted by multiple contemporaneities.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"34 1","pages":"89-101"},"PeriodicalIF":0.2,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139325886","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}
Abstract This article examines how contemporary artists from the Western Balkans have sought to engage with the legacy of ethnonationalist violence. While attempts to examine and openly discuss war crimes that occurred in this region during the 1990s have largely been undermined by populist politics in successor states, the domain of art has provided a critical platform for disrupting the official erasure of these atrocities. This investigation focuses on the Four Faces of Omarska art collective, whose members examine the war crimes that occurred following the break-up of socialist Yugoslavia by studying the transformation of the Omarska site in north-western Bosnia – a location that has variously served as a mining complex, a death camp, and a set for the filming of an ‘ethno-blockbuster.’ In providing a comprehensive (art) historical analysis of their practice, the article considers the collective's public engagement strategies by invoking Santiago Zabala's concept of ‘emergency aesthetics’ as a method for countering the political erasure of urgent issues. This analysis reveals that the significance of the Four Faces of Omarska project extends beyond its immediate post-socialist context, and indeed provides a model of creative practice fit for our era of planetary crisis.
{"title":"Emergency Aesthetics: The Case of the Four Faces of Omarska","authors":"Iva Glisic, Biljana Purić","doi":"10.1162/artm_a_00363","DOIUrl":"https://doi.org/10.1162/artm_a_00363","url":null,"abstract":"Abstract This article examines how contemporary artists from the Western Balkans have sought to engage with the legacy of ethnonationalist violence. While attempts to examine and openly discuss war crimes that occurred in this region during the 1990s have largely been undermined by populist politics in successor states, the domain of art has provided a critical platform for disrupting the official erasure of these atrocities. This investigation focuses on the Four Faces of Omarska art collective, whose members examine the war crimes that occurred following the break-up of socialist Yugoslavia by studying the transformation of the Omarska site in north-western Bosnia – a location that has variously served as a mining complex, a death camp, and a set for the filming of an ‘ethno-blockbuster.’ In providing a comprehensive (art) historical analysis of their practice, the article considers the collective's public engagement strategies by invoking Santiago Zabala's concept of ‘emergency aesthetics’ as a method for countering the political erasure of urgent issues. This analysis reveals that the significance of the Four Faces of Omarska project extends beyond its immediate post-socialist context, and indeed provides a model of creative practice fit for our era of planetary crisis.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"16 2 1","pages":"54-75"},"PeriodicalIF":0.2,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139325902","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}
Abstract In the days before the arrival of the internet, Western art history education in Pakistan was mostly disseminated through black and white photocopies of original publications. The glossy pages of art books were transformed into rough copies in varying shades of gray. Rather than understanding this as a disadvantage, I propose, conversely, that this practice constituted a form of radical piracy—the blurred, partial and often completely indecipherable nature of this material proved to be, in fact, a kind of liberation.
{"title":"Color Charts","authors":"Bani Abidi","doi":"10.1162/artm_a_00353","DOIUrl":"https://doi.org/10.1162/artm_a_00353","url":null,"abstract":"Abstract In the days before the arrival of the internet, Western art history education in Pakistan was mostly disseminated through black and white photocopies of original publications. The glossy pages of art books were transformed into rough copies in varying shades of gray. Rather than understanding this as a disadvantage, I propose, conversely, that this practice constituted a form of radical piracy—the blurred, partial and often completely indecipherable nature of this material proved to be, in fact, a kind of liberation.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"95-105"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45374845","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}
deBT cOLLecTOrs, Elizabeth Harney’s, Joshua I. Cohen’s
Elizabeth Harney’s “The Persistence of Primitivism and the Debt Collectors“ (ARTM 11:3), p. 105–125 (https://doi.org/10.1162/artm _r_00327) contains an error. Joshua I. Cohen’s The “Black Art” Renaissance: African Sculpture and Modernism across Continents (Oakland: University of California Press, 2020) is incorrectly titled The Black Renaissance: African Sculpture and Modernism across Continents. We regret the mistake.
{"title":"Erratum: The Persistence of Primitivism and The Debt Collectors","authors":"deBT cOLLecTOrs, Elizabeth Harney’s, Joshua I. Cohen’s","doi":"10.1162/artm_x_00358","DOIUrl":"https://doi.org/10.1162/artm_x_00358","url":null,"abstract":"Elizabeth Harney’s “The Persistence of Primitivism and the Debt Collectors“ (ARTM 11:3), p. 105–125 (https://doi.org/10.1162/artm _r_00327) contains an error. Joshua I. Cohen’s The “Black Art” Renaissance: African Sculpture and Modernism across Continents (Oakland: University of California Press, 2020) is incorrectly titled The Black Renaissance: African Sculpture and Modernism across Continents. We regret the mistake.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"124-124"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44331310","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}
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