{"title":"Editor’s Note","authors":"Tanya Sheehan","doi":"10.1086/727625","DOIUrl":"https://doi.org/10.1086/727625","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135691397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Front Matter","authors":"","doi":"10.1086/727623","DOIUrl":"https://doi.org/10.1086/727623","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135688105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay argues that Bay Area artist Jay DeFeo’s overidentification with The Rose (1958–66), has resulted in a historiography that consistently—and as I claim, wrongly—frames her career thereafter in terms of aftermath. Against narratives of “before and after” upheld by writers on DeFeo, this essay maintains that The Rose represents neither a consummation nor a cleavage; rather, it came to stand for DeFeo for incipient possibility, encompassing and then generating a lexicon of forms. The still larger stakes involve the role collections intended for public archives play in private lives. The Archives of American Art’s interest in DeFeo beginning in 1974 arguably accelerated her imaging of futurity, encouraging not just new work but her work’s preservation—alongside that of related papers, diaries, records, and oral histories—in anticipation of future audiences who might still receive it.
{"title":"Jay DeFeo, Encore","authors":"Suzanne Hudson","doi":"10.1086/727628","DOIUrl":"https://doi.org/10.1086/727628","url":null,"abstract":"This essay argues that Bay Area artist Jay DeFeo’s overidentification with The Rose (1958–66), has resulted in a historiography that consistently—and as I claim, wrongly—frames her career thereafter in terms of aftermath. Against narratives of “before and after” upheld by writers on DeFeo, this essay maintains that The Rose represents neither a consummation nor a cleavage; rather, it came to stand for DeFeo for incipient possibility, encompassing and then generating a lexicon of forms. The still larger stakes involve the role collections intended for public archives play in private lives. The Archives of American Art’s interest in DeFeo beginning in 1974 arguably accelerated her imaging of futurity, encouraging not just new work but her work’s preservation—alongside that of related papers, diaries, records, and oral histories—in anticipation of future audiences who might still receive it.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135688110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This text consists of an exchange of two letters each between Paul Devlin and Benji de la Piedra (preceded by a coauthored introduction) on the oral history interviews that cultural critic and novelist Albert Murray conducted for the Archives of American Art with Emma Amos, Charles Alston, Merton Simpson, and Hale Woodruff—all members of the Spiral Group of African American artists—in the autumn of 1968. Devlin and de la Piedra explore many aspects of the four expansive interviews, with de la Piedra focusing on how Murray’s approach as an interviewer can be understood as prefiguring disciplinary developments in the field of oral history and Devlin contextualizing the interviews in terms of Murray’s thought and biography.
{"title":"Albert Murray’s Approach to Oral Art History: An Epistolary Exploration","authors":"Paul Devlin, Benji de la Piedra","doi":"10.1086/727627","DOIUrl":"https://doi.org/10.1086/727627","url":null,"abstract":"This text consists of an exchange of two letters each between Paul Devlin and Benji de la Piedra (preceded by a coauthored introduction) on the oral history interviews that cultural critic and novelist Albert Murray conducted for the Archives of American Art with Emma Amos, Charles Alston, Merton Simpson, and Hale Woodruff—all members of the Spiral Group of African American artists—in the autumn of 1968. Devlin and de la Piedra explore many aspects of the four expansive interviews, with de la Piedra focusing on how Murray’s approach as an interviewer can be understood as prefiguring disciplinary developments in the field of oral history and Devlin contextualizing the interviews in terms of Murray’s thought and biography.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135688106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Art historians often go to archives to find those excluded from and forgotten by history. We desire a more inclusive discipline that integrates a wider range of voices than the field’s Eurocentric patriarchal roots typically allow. Oral history serves as a vital tool in that mission by preserving the potency of such voices. Drawing from oral history scholarship, I argue that oral history’s special value lies in its being a narrative, and all that encompasses: lost perspectives, series of remembered truths, and reflections of personal and societal values (in the process of being made personal and social). Through a close reading of the Archives of American Art’s 1969 oral history interview with gallerist Martha Jackson, I grapple with oral history’s complexity in order to better understand gendered experience at midcentury and find Jackson’s voice.
{"title":"Martha Jackson’s Voice: Gender, Oral History, and Art-Historical Evidence","authors":"Angelica J. Maier","doi":"10.1086/727626","DOIUrl":"https://doi.org/10.1086/727626","url":null,"abstract":"Art historians often go to archives to find those excluded from and forgotten by history. We desire a more inclusive discipline that integrates a wider range of voices than the field’s Eurocentric patriarchal roots typically allow. Oral history serves as a vital tool in that mission by preserving the potency of such voices. Drawing from oral history scholarship, I argue that oral history’s special value lies in its being a narrative, and all that encompasses: lost perspectives, series of remembered truths, and reflections of personal and societal values (in the process of being made personal and social). Through a close reading of the Archives of American Art’s 1969 oral history interview with gallerist Martha Jackson, I grapple with oral history’s complexity in order to better understand gendered experience at midcentury and find Jackson’s voice.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135691199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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