This essay uses archival and quantitative evidence to examine art critic Earl Shinn’s three-volume inventory The Art Treasures of America (1879–1882). Proving that Shinn’s survey presents a disproportionally Eurocentric sample of nineteenth-century US art collections, this article demonstrates how art historians can engage with digital tools to better understand primary sources’ biases.
{"title":"When Data Meet the Archive: Earl Shinn and Sample Bias","authors":"D. Greenwald","doi":"10.1086/703661","DOIUrl":"https://doi.org/10.1086/703661","url":null,"abstract":"This essay uses archival and quantitative evidence to examine art critic Earl Shinn’s three-volume inventory The Art Treasures of America (1879–1882). Proving that Shinn’s survey presents a disproportionally Eurocentric sample of nineteenth-century US art collections, this article demonstrates how art historians can engage with digital tools to better understand primary sources’ biases.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"196 1","pages":"48 - 69"},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77591520","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":"Senga Nengudi Papers","authors":"E. Gilbert","doi":"10.1086/703665","DOIUrl":"https://doi.org/10.1086/703665","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"67 1","pages":"90 - 91"},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84058111","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 examines a scrapbook created by African American painter William H. Johnson, revealing how Johnson altered and redirected the graphic and linguistic messages of print materials in order to expand the dialogues of his pictorial narratives, and to present an alternative history to the dominant one.
{"title":"Cut Aesthetics: William H. Johnson’s Scrapbook History Paintings","authors":"M. Best","doi":"10.1086/703659","DOIUrl":"https://doi.org/10.1086/703659","url":null,"abstract":"This essay examines a scrapbook created by African American painter William H. Johnson, revealing how Johnson altered and redirected the graphic and linguistic messages of print materials in order to expand the dialogues of his pictorial narratives, and to present an alternative history to the dominant one.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"57 1","pages":"4 - 27"},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89877437","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}
In 1963, Clayton and Betty Bailey received a thank-you note from the artist H. C. Westermann. Close analysis of this piece of correspondence expands our understanding of Westermann while shedding light on the relationship between communication and creativity, as well as the importance of gift giving in fostering community among mid-century American artists.
{"title":"A Thank-you Note from H. C. Westermann","authors":"D. McCarthy","doi":"10.1086/703660","DOIUrl":"https://doi.org/10.1086/703660","url":null,"abstract":"In 1963, Clayton and Betty Bailey received a thank-you note from the artist H. C. Westermann. Close analysis of this piece of correspondence expands our understanding of Westermann while shedding light on the relationship between communication and creativity, as well as the importance of gift giving in fostering community among mid-century American artists.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"38 3 1","pages":"28 - 47"},"PeriodicalIF":0.1,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89434610","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}
Charles “Chaz” Bojórquez is recognized internationally for his role in developing a West Coast calligraphic style and an oeuvre of text-based paintings featuring original typographies inspired by the graffiti of the Avenues, his East Los Angeles neighborhood. His dramatic transformation into a graffiti artist who works on canvas rather than on the streets is an established part of the scholarly and popular record. What is largely unknown and revealed by the Archives of American Art’s Bojórquez Papers is that the years leading up to this transition in the artist’s practice were filled with explorations of clouds. The papers document Bojórquez’s “lasting interest in clouds,” expressing his attachment to continuous motion, energy, and contradictory properties. They also highlight his developing belief that art should function as a tool of human communication and cultural empowerment. Consideration of the artist’s early cloud imagery discloses a burgeoning ethos of universalism that would be articulated more fully in his graffiti-based paintings. In these later works, Bojórquez embraced the local aesthetics of the Avenues as a means of connecting with a global audience.
{"title":"Sputnik and the Avenues: The Art of Chaz Bojórquez","authors":"K. Davalos","doi":"10.1086/701176","DOIUrl":"https://doi.org/10.1086/701176","url":null,"abstract":"Charles “Chaz” Bojórquez is recognized internationally for his role in developing a West Coast calligraphic style and an oeuvre of text-based paintings featuring original typographies inspired by the graffiti of the Avenues, his East Los Angeles neighborhood. His dramatic transformation into a graffiti artist who works on canvas rather than on the streets is an established part of the scholarly and popular record. What is largely unknown and revealed by the Archives of American Art’s Bojórquez Papers is that the years leading up to this transition in the artist’s practice were filled with explorations of clouds. The papers document Bojórquez’s “lasting interest in clouds,” expressing his attachment to continuous motion, energy, and contradictory properties. They also highlight his developing belief that art should function as a tool of human communication and cultural empowerment. Consideration of the artist’s early cloud imagery discloses a burgeoning ethos of universalism that would be articulated more fully in his graffiti-based paintings. In these later works, Bojórquez embraced the local aesthetics of the Avenues as a means of connecting with a global audience.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"90 1","pages":"28 - 47"},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76164438","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 article examines the recurrence of cartography in the print portfolios of the New York-based collective Dominican York Proyecto GRAFICA. Combining the social history of art with recent theoretical developments in geography, I argue that the collective’s approach to collaborative printmaking reveals the geopolitics of US intervention, and also explore how the doubly exiled Dominican body resists the racialized geography of the US.
{"title":"The Island Within the Island: Remapping Dominican York","authors":"Tatiana Reinoza","doi":"10.1086/701175","DOIUrl":"https://doi.org/10.1086/701175","url":null,"abstract":"This article examines the recurrence of cartography in the print portfolios of the New York-based collective Dominican York Proyecto GRAFICA. Combining the social history of art with recent theoretical developments in geography, I argue that the collective’s approach to collaborative printmaking reveals the geopolitics of US intervention, and also explore how the doubly exiled Dominican body resists the racialized geography of the US.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"31 1","pages":"4 - 27"},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72866705","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}
David M. Lubin, Anne Collins Goodyear, M. Coffey, Emily C. Burns, John Fagg, A. Boylan, D. Getsy, Kristina Wilson, L. Saltzman, Ross Barrett, Alexander Nemerov
In our fall 2017 issue, art historian Alexander Nemerov explored a question of vital interest to this journal and its readers: How might we describe the relationship between artworks and archives? He applied this question to the case of nineteenth-century American painter John Quidor, whose historical and literary subjects scholar Ross Barrett has connected to the artist’s fervor for land speculation. Nemerov commended Barrett for deftly yoking Quidor’s art to his social context, supported by archival evidence. Yet Nemerov maintained that art can still be “a thing apart” from the social realm, marked by its “otherness” and thus not wholly explained by the archive. These ideas have sparked much debate among art historians, and so we invited a selection of them to respond with their own questions and case studies. The eleven texts featured here represent a variety of research areas and methodologies, and conclude with reflections by both Barrett and Nemerov.
{"title":"In Conversation: Art Is Not the Archive","authors":"David M. Lubin, Anne Collins Goodyear, M. Coffey, Emily C. Burns, John Fagg, A. Boylan, D. Getsy, Kristina Wilson, L. Saltzman, Ross Barrett, Alexander Nemerov","doi":"10.1086/701178","DOIUrl":"https://doi.org/10.1086/701178","url":null,"abstract":"In our fall 2017 issue, art historian Alexander Nemerov explored a question of vital interest to this journal and its readers: How might we describe the relationship between artworks and archives? He applied this question to the case of nineteenth-century American painter John Quidor, whose historical and literary subjects scholar Ross Barrett has connected to the artist’s fervor for land speculation. Nemerov commended Barrett for deftly yoking Quidor’s art to his social context, supported by archival evidence. Yet Nemerov maintained that art can still be “a thing apart” from the social realm, marked by its “otherness” and thus not wholly explained by the archive. These ideas have sparked much debate among art historians, and so we invited a selection of them to respond with their own questions and case studies. The eleven texts featured here represent a variety of research areas and methodologies, and conclude with reflections by both Barrett and Nemerov.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"5 1","pages":"62 - 77"},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75543906","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}
National institutions in the United States such as the Smithsonian’s Archives of American Art are finally bringing attention and resources to the artistic practice of Latinos as well as Latin American artists residing in the US. As more institutions collect, preserve, and exhibit Latino and Latin American art, and as more scholars and universities engage in these histories, access to archives will play a critical role in shaping the future of these fields. This edited interview with C. Ondine Chavoya, professor of art history at Williams College; Olga Herrera, director of the Inter-University Program for Latino Research in Washington, DC; Tey Marianna Nunn, director and chief curator of the Art Museum and Visual Arts Program at the National Hispanic Cultural Center; and Adriana Zavala, professor of art history at Tufts University and director of the US Latinx Art Forum (USLAF) explores how scholars today are transforming their research practice thanks to the Latino collections at the Archives and elsewhere.
{"title":"In the Field: Latino Art Archives","authors":"Jennifer González","doi":"10.1086/701177","DOIUrl":"https://doi.org/10.1086/701177","url":null,"abstract":"National institutions in the United States such as the Smithsonian’s Archives of American Art are finally bringing attention and resources to the artistic practice of Latinos as well as Latin American artists residing in the US. As more institutions collect, preserve, and exhibit Latino and Latin American art, and as more scholars and universities engage in these histories, access to archives will play a critical role in shaping the future of these fields. This edited interview with C. Ondine Chavoya, professor of art history at Williams College; Olga Herrera, director of the Inter-University Program for Latino Research in Washington, DC; Tey Marianna Nunn, director and chief curator of the Art Museum and Visual Arts Program at the National Hispanic Cultural Center; and Adriana Zavala, professor of art history at Tufts University and director of the US Latinx Art Forum (USLAF) explores how scholars today are transforming their research practice thanks to the Latino collections at the Archives and elsewhere.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"14 1","pages":"48 - 61"},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84498180","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}
The Archives of American Art has collected primary sources that document the contributions of Latinos to the visual arts in the US since its founding in 1954. Both independently and with support from the Latino Center, the Archives’ permanent staff and a network of expert associates have conducted and collected dozens of oral histories of Latino artists, scholars, collectors, and curators in California, Texas, and Southern Florida since the mid-1990s. In 2015, I inherited a collection rich in Latino content on which I continue to build, now in the role of the Archives’ national collector. Some of the documents highlighted in this essay derive from acquisitions that predate my tenure at the Archives, while others entered the collection over the course of the two-year Latino collecting initiative I oversaw from 2015 to 2017. A common thread runs through each example: evidence that Latino art is integral to the story of American art. The Archives’ Latino holdings not only add quantitatively to the histories of American art legitimized at a national level by their presence at the Smithsonian, but also alter fundamentally the terms and categories we use in defining the field.
{"title":"Hispanic Hoopla: Latino Collecting at the Archives","authors":"Josh Franco","doi":"10.1086/701179","DOIUrl":"https://doi.org/10.1086/701179","url":null,"abstract":"The Archives of American Art has collected primary sources that document the contributions of Latinos to the visual arts in the US since its founding in 1954. Both independently and with support from the Latino Center, the Archives’ permanent staff and a network of expert associates have conducted and collected dozens of oral histories of Latino artists, scholars, collectors, and curators in California, Texas, and Southern Florida since the mid-1990s. In 2015, I inherited a collection rich in Latino content on which I continue to build, now in the role of the Archives’ national collector. Some of the documents highlighted in this essay derive from acquisitions that predate my tenure at the Archives, while others entered the collection over the course of the two-year Latino collecting initiative I oversaw from 2015 to 2017. A common thread runs through each example: evidence that Latino art is integral to the story of American art. The Archives’ Latino holdings not only add quantitatively to the histories of American art legitimized at a national level by their presence at the Smithsonian, but also alter fundamentally the terms and categories we use in defining the field.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"78 1","pages":"78 - 93"},"PeriodicalIF":0.1,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82497243","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}
In 1969 the Washington Color School painter Gene Davis, together with sculptor Ed McGowin and critic Douglas Davis, produced Giveaway, an unconventional event involving the free distribution of fifty Gene Davis paintings. This essay argues that Giveaway was a radical avant-garde gesture that questioned concepts traditionally used to indicate artistic and commercial value, including authorship and originality.
{"title":"Free Art and a Planned Giveaway","authors":"Joan Kee","doi":"10.1086/698335","DOIUrl":"https://doi.org/10.1086/698335","url":null,"abstract":"In 1969 the Washington Color School painter Gene Davis, together with sculptor Ed McGowin and critic Douglas Davis, produced Giveaway, an unconventional event involving the free distribution of fifty Gene Davis paintings. This essay argues that Giveaway was a radical avant-garde gesture that questioned concepts traditionally used to indicate artistic and commercial value, including authorship and originality.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"14 1","pages":"44 - 61"},"PeriodicalIF":0.1,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77006415","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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