{"title":"Trading With R. Y.","authors":"M. Lum, A. W. Lee","doi":"10.1086/719876","DOIUrl":"https://doi.org/10.1086/719876","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"34 4 1","pages":"64 - 77"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83547538","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":"Nela Arias-Misson Papers","authors":"Josh Franco","doi":"10.1086/717530","DOIUrl":"https://doi.org/10.1086/717530","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"4 1","pages":"86 - 87"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86942386","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}
Hoping to evoke in readers memories of their own encounters with the missing or illegible, this visual essay highlights materials from across the Archives that represent mysteries. There are texts that have stumped the Archives’ crowdsourced attempts to transcribe them, photographs of unidentified people, and manuscripts that have been damaged, destroyed, or lost, such as torn out pages from an artist’s diary or a letter consisting of only the postscript. One could regard these objects with melancholy, as representing gaps in knowledge that may never be bridged. They raise questions about the limits of any archive, and the necessary incompleteness of the work we do as scholars. However, by being irreducible to facts—by, we might say, not doing their job—I argue that indecipherable or incomprehensible archival materials may assert a hold on the researcher that legible materials do not.
{"title":"Indecipherable","authors":"Kevin M. Murphy","doi":"10.1086/717527","DOIUrl":"https://doi.org/10.1086/717527","url":null,"abstract":"Hoping to evoke in readers memories of their own encounters with the missing or illegible, this visual essay highlights materials from across the Archives that represent mysteries. There are texts that have stumped the Archives’ crowdsourced attempts to transcribe them, photographs of unidentified people, and manuscripts that have been damaged, destroyed, or lost, such as torn out pages from an artist’s diary or a letter consisting of only the postscript. One could regard these objects with melancholy, as representing gaps in knowledge that may never be bridged. They raise questions about the limits of any archive, and the necessary incompleteness of the work we do as scholars. However, by being irreducible to facts—by, we might say, not doing their job—I argue that indecipherable or incomprehensible archival materials may assert a hold on the researcher that legible materials do not.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"391 1","pages":"62 - 73"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84691192","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":"Art in General Records","authors":"J. Proctor","doi":"10.1086/717531","DOIUrl":"https://doi.org/10.1086/717531","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"111 1","pages":"88 - 89"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73213635","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}
Formed in Chicago in 1968, AfriCOBRA (African Commune of Bad Relevant Artists) dedicated itself to producing art for Black people independent of white-controlled museums and markets. Examining business records from the Archives of American Art’s Jeff Donaldson Papers, this essay contributes to recent conversations about Black collectivity by exploring how AfriCOBRA navigated capitalism to sustain its revolutionary art practice. In doing so, I argue for the significance of AfriCOBRA as a political economy: a system for producing and distributing Black culture.
{"title":"The Political Economy of AfriCOBRA","authors":"C. Dingwall","doi":"10.1086/717525","DOIUrl":"https://doi.org/10.1086/717525","url":null,"abstract":"Formed in Chicago in 1968, AfriCOBRA (African Commune of Bad Relevant Artists) dedicated itself to producing art for Black people independent of white-controlled museums and markets. Examining business records from the Archives of American Art’s Jeff Donaldson Papers, this essay contributes to recent conversations about Black collectivity by exploring how AfriCOBRA navigated capitalism to sustain its revolutionary art practice. In doing so, I argue for the significance of AfriCOBRA as a political economy: a system for producing and distributing Black culture.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"54 1","pages":"26 - 45"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89357968","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 offers an interpretation of Ana Mendieta’s work based on art historian Judith Wilson’s May 1980 oral history interview with the artist. It argues for analyzing four key works in Mendieta’s oeuvre through the lenses of diaspora and citizenship based on her articulation in this interview of her experiences as a Cuban-American woman in exile in the US. It concludes with a meditation on Mendieta’s identification with both the Third World Women’s and Non-Aligned Nations movements and her “personal will to continue being ‘other’” under birthright citizenship laws of blood and soil.
{"title":"Listening to Ana Mendieta","authors":"Xuxa Rodríguez","doi":"10.1086/717526","DOIUrl":"https://doi.org/10.1086/717526","url":null,"abstract":"This essay offers an interpretation of Ana Mendieta’s work based on art historian Judith Wilson’s May 1980 oral history interview with the artist. It argues for analyzing four key works in Mendieta’s oeuvre through the lenses of diaspora and citizenship based on her articulation in this interview of her experiences as a Cuban-American woman in exile in the US. It concludes with a meditation on Mendieta’s identification with both the Third World Women’s and Non-Aligned Nations movements and her “personal will to continue being ‘other’” under birthright citizenship laws of blood and soil.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"77 1","pages":"46 - 61"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78855606","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}
Taking canonical literary texts as sources for drawing or poetry-writing, the New York Sketch Club’s meetings seemed to epitomize the notion that its members—writers and artists including William Cullen Bryant, Thomas Cole, and Asher Durand—were “kindred spirits” engaged in a shared project of consolidating national identity through aesthetic practice. This essay, by contrast, describes the club’s obsession with optically and textual uncertainty—including illegible handwriting, sketches based on radically reimagined literary sources, and weakly visualizable artworks—as shaping a literally less-visible register of involvement with the violence of tribal dispossession and African slavery. Racialized forms of power appear in this account as forces underwriting the canon of “American” art that developed through the pictorial and narrative activities of the Sketch Club.
{"title":"Race, Violence, and the Textual Politics of the New York Sketch Club","authors":"Peter Betjemann","doi":"10.1086/717524","DOIUrl":"https://doi.org/10.1086/717524","url":null,"abstract":"Taking canonical literary texts as sources for drawing or poetry-writing, the New York Sketch Club’s meetings seemed to epitomize the notion that its members—writers and artists including William Cullen Bryant, Thomas Cole, and Asher Durand—were “kindred spirits” engaged in a shared project of consolidating national identity through aesthetic practice. This essay, by contrast, describes the club’s obsession with optically and textual uncertainty—including illegible handwriting, sketches based on radically reimagined literary sources, and weakly visualizable artworks—as shaping a literally less-visible register of involvement with the violence of tribal dispossession and African slavery. Racialized forms of power appear in this account as forces underwriting the canon of “American” art that developed through the pictorial and narrative activities of the Sketch Club.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"75 1","pages":"4 - 25"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79487769","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}
Drawing on the Skowhegan School of Painting and Sculpture Lecture Archive in the collection of the Archives of American Art, this essay asks what we might learn both about and from the artist talk, a form of public address that is ubiquitous, understudied, and perhaps even a dialogic model beyond the bounds of art.
{"title":"Ways of Speaking and Listening: The Artist Talk","authors":"Jennifer Liese","doi":"10.1086/717528","DOIUrl":"https://doi.org/10.1086/717528","url":null,"abstract":"Drawing on the Skowhegan School of Painting and Sculpture Lecture Archive in the collection of the Archives of American Art, this essay asks what we might learn both about and from the artist talk, a form of public address that is ubiquitous, understudied, and perhaps even a dialogic model beyond the bounds of art.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"1 1","pages":"74 - 83"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84313749","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":"Consuelo Jiménez Underwood Papers","authors":"M. Simms","doi":"10.1086/717532","DOIUrl":"https://doi.org/10.1086/717532","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"26 1","pages":"90 - 91"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88129556","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}
Mary Savig, Mercedes Dorame, Sheila Levant de Bretteville, Deena P. Metzger, M. Rosler, Ana Mendieta, Kris Dorsey, Maren Hassinger, Annysa Ng, Judy Chicago, Every Ocean Hughes, Anaïs Duplan, H. Hammond, Tanya Aguiñiga
In 1976 feminist activists Ruth Iskin, Lucy Lippard, and Arlene Raven mailed a pink postcard to their network of artists with the prompt, “If you consider yourself a feminist, would you respond by using one 8 ½ × 11" page to share your ideas about what feminist art is or could be.” More than 200 artists replied in the form of collages, manifestos, drawings, and prints. On February 3, 1977, the responses went on view in a public gallery at the Woman’s Building, a feminist art and education cooperative in Los Angeles. The Center for Feminist Art Historical Studies, an organization affiliated with the Woman’s Building, filed the responses for future reference, and today they reside in the Woman’s Building Records at the Archives of American Art. The launch of the Smithsonian American Women’s History Initiative in 2018 provided an opportunity for the Archives to reconsider these historical documents. In 2019, the Archives’ curator of manuscripts invited some of the original artists as well as a number of new voices to address the question, “What is feminist art?.” This Art Work journal feature reproduces ten examples of the 2019 responses alongside five from 1976–77, inviting comparison and conversation.
{"title":"What Is Feminist Art?","authors":"Mary Savig, Mercedes Dorame, Sheila Levant de Bretteville, Deena P. Metzger, M. Rosler, Ana Mendieta, Kris Dorsey, Maren Hassinger, Annysa Ng, Judy Chicago, Every Ocean Hughes, Anaïs Duplan, H. Hammond, Tanya Aguiñiga","doi":"10.1086/714302","DOIUrl":"https://doi.org/10.1086/714302","url":null,"abstract":"In 1976 feminist activists Ruth Iskin, Lucy Lippard, and Arlene Raven mailed a pink postcard to their network of artists with the prompt, “If you consider yourself a feminist, would you respond by using one 8 ½ × 11\" page to share your ideas about what feminist art is or could be.” More than 200 artists replied in the form of collages, manifestos, drawings, and prints. On February 3, 1977, the responses went on view in a public gallery at the Woman’s Building, a feminist art and education cooperative in Los Angeles. The Center for Feminist Art Historical Studies, an organization affiliated with the Woman’s Building, filed the responses for future reference, and today they reside in the Woman’s Building Records at the Archives of American Art. The launch of the Smithsonian American Women’s History Initiative in 2018 provided an opportunity for the Archives to reconsider these historical documents. In 2019, the Archives’ curator of manuscripts invited some of the original artists as well as a number of new voices to address the question, “What is feminist art?.” This Art Work journal feature reproduces ten examples of the 2019 responses alongside five from 1976–77, inviting comparison and conversation.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"58 1","pages":"62 - 79"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84801206","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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