In the mid-1970s, a number of artists in Southern California made works that merged self-portraiture, material documents, life narrative, and fiction. The 1976 exhibition Autobiographical Fantasies, Lowell Darling’s This Is Your Life (1973–76), and Eleanor Antin’s The Angel of Mercy (1977) related to feminist consciousness-raising strategies and to the presentation of identity as contingent and unstable. In emphasizing the materials of personal life narrative, they also raised questions about the critical potential of archival practices in art and art history, troubling ideas of authenticity, documentation, and the archive’s ability to construct a coherent subject. Such ontological and methodological challenges situate the archive as performative rather than constative, with critical feminist implications. In the form of deliberately unreliable archives, artists such as Antin, Darling, Ilene Segalove, and Alexis Smith proposed the archive as a space of fantasy that demands performative engagement and retains its feminist potential.
{"title":"Autobiographical Fantasy and the Feminist Archive","authors":"Lucy Bradnock","doi":"10.1086/714301","DOIUrl":"https://doi.org/10.1086/714301","url":null,"abstract":"In the mid-1970s, a number of artists in Southern California made works that merged self-portraiture, material documents, life narrative, and fiction. The 1976 exhibition Autobiographical Fantasies, Lowell Darling’s This Is Your Life (1973–76), and Eleanor Antin’s The Angel of Mercy (1977) related to feminist consciousness-raising strategies and to the presentation of identity as contingent and unstable. In emphasizing the materials of personal life narrative, they also raised questions about the critical potential of archival practices in art and art history, troubling ideas of authenticity, documentation, and the archive’s ability to construct a coherent subject. Such ontological and methodological challenges situate the archive as performative rather than constative, with critical feminist implications. In the form of deliberately unreliable archives, artists such as Antin, Darling, Ilene Segalove, and Alexis Smith proposed the archive as a space of fantasy that demands performative engagement and retains its feminist potential.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"34 1","pages":"44 - 61"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77685020","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}
On September 27, 1915, an unprecedented exhibition featuring more than 150 works by ninety women opened at a prestigious New York gallery, with half the proceeds designated to support the suffrage movement. Participants included painters Theresa Bernstein, Charlotte Coman, Adelaide Deming, Jane Freeman, and Agnes Pelton, illustrator Rose O’Neill, and sculptors Helena Smith Dayton, Abastenia St. Leger Eberle, Alice Morgan Wright, and Enid Yandell. The Archives of American Art’s Macbeth Gallery scrapbook serves as the primary record of the show. Drawing from art history, social history, and cultural and archival studies, this essay demonstrates how to use sparse sources to illuminate an underdocumented moment in women’s history.
1915年9月27日，一场史无前例的展览在纽约一家著名的画廊开幕，展出了90名女性的150多件作品，其中一半的收益指定用于支持选举权运动。参与者包括画家Theresa Bernstein、Charlotte Coman、Adelaide Deming、Jane Freeman和Agnes Pelton、插画家Rose O 'Neill和雕塑家Helena Smith Dayton、Abastenia St. Leger Eberle、Alice Morgan Wright和Enid Yandell。美国艺术档案馆麦克白画廊的剪贴簿是这次展览的主要记录。从艺术史、社会史、文化和档案研究中，本文展示了如何利用稀疏的资源来阐明女性历史上一个未被充分记录的时刻。
{"title":"Gallery Scrapbook as Suffrage Archive: Macbeth’s Suffrage Exhibition","authors":"L. Prieto","doi":"10.1086/714299","DOIUrl":"https://doi.org/10.1086/714299","url":null,"abstract":"On September 27, 1915, an unprecedented exhibition featuring more than 150 works by ninety women opened at a prestigious New York gallery, with half the proceeds designated to support the suffrage movement. Participants included painters Theresa Bernstein, Charlotte Coman, Adelaide Deming, Jane Freeman, and Agnes Pelton, illustrator Rose O’Neill, and sculptors Helena Smith Dayton, Abastenia St. Leger Eberle, Alice Morgan Wright, and Enid Yandell. The Archives of American Art’s Macbeth Gallery scrapbook serves as the primary record of the show. Drawing from art history, social history, and cultural and archival studies, this essay demonstrates how to use sparse sources to illuminate an underdocumented moment in women’s history.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"46 1","pages":"4 - 23"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84983254","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":"Pandemic Oral History Project","authors":"B. Gillespie","doi":"10.1086/714304","DOIUrl":"https://doi.org/10.1086/714304","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"57 1","pages":"90 - 95"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75952518","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 argues that modern tapestry’s archive reveals two lacunae in the history of modernism and addresses them through the dual practices of a feminist reading of the archives and an archival reading of feminism. The first lacuna is the role of women as not only artists but also producers of art, more broadly conceived. A feminist reading of the archive shows how women worked as “publishers,” weavers, widows, dealers, curators, and critics to produce tapestry and other forms of modern art. The second lacuna regards the role of the feminist art movement in transforming art history narratives, as feminists both recovered marginalized artistic practices and marginalized others that did not fit their political agenda. An archival reading of feminism shows how modern tapestry, as a relatively prestigious and masculine form of decorative art, would have complicated feminists’ simplification of modernism as misogynously opposed to decoration.
{"title":"Reading Feminism in Modern Tapestry’s Archive","authors":"K. Wells","doi":"10.1086/714300","DOIUrl":"https://doi.org/10.1086/714300","url":null,"abstract":"This article argues that modern tapestry’s archive reveals two lacunae in the history of modernism and addresses them through the dual practices of a feminist reading of the archives and an archival reading of feminism. The first lacuna is the role of women as not only artists but also producers of art, more broadly conceived. A feminist reading of the archive shows how women worked as “publishers,” weavers, widows, dealers, curators, and critics to produce tapestry and other forms of modern art. The second lacuna regards the role of the feminist art movement in transforming art history narratives, as feminists both recovered marginalized artistic practices and marginalized others that did not fit their political agenda. An archival reading of feminism shows how modern tapestry, as a relatively prestigious and masculine form of decorative art, would have complicated feminists’ simplification of modernism as misogynously opposed to decoration.","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"43 1","pages":"24 - 43"},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89047754","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":"New Collections Section Opener","authors":"","doi":"10.1086/712171","DOIUrl":"https://doi.org/10.1086/712171","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"36 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87382376","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":"Toshiko Takaezu Papers","authors":"R. Ueno","doi":"10.1086/711977","DOIUrl":"https://doi.org/10.1086/711977","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"39 1","pages":"94 - 95"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77231723","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":"Ronald Davis Papers","authors":"M. Simms","doi":"10.1086/711976","DOIUrl":"https://doi.org/10.1086/711976","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"46 1","pages":"92 - 93"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79118792","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 transitory quality of archival matter—its inevitable deterioration slowed but also highlighted by acid-free folders, gloved handling, and climate control—in part explains why it does not typica...
{"title":"Archive as Monument","authors":"T. Latimer","doi":"10.1086/711974","DOIUrl":"https://doi.org/10.1086/711974","url":null,"abstract":"The transitory quality of archival matter—its inevitable deterioration slowed but also highlighted by acid-free folders, gloved handling, and climate control—in part explains why it does not typica...","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"31 4 1","pages":"78 - 87"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80042538","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 1933, between June 13 and June 23, the artist Charles Burchfield lost both his sister Frances and his mother Alice. This loss is referenced in a moving letter to his sister Louise at the Archive...
{"title":"On Loss and Seeding","authors":"Josh Dorman","doi":"10.1086/711973","DOIUrl":"https://doi.org/10.1086/711973","url":null,"abstract":"In 1933, between June 13 and June 23, the artist Charles Burchfield lost both his sister Frances and his mother Alice. This loss is referenced in a moving letter to his sister Louise at the Archive...","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"34 1","pages":"66 - 77"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81729408","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":"Quick Studies","authors":"Katie Anania","doi":"10.1086/711970","DOIUrl":"https://doi.org/10.1086/711970","url":null,"abstract":"","PeriodicalId":41204,"journal":{"name":"ARCHIVES OF AMERICAN ART JOURNAL","volume":"63 1","pages":"4 - 23"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84318019","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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