This study examines the genealogy of the antimonument in South Korean contemporary art as it manifests in the works of three artists: Bahc Mo, Suh Do Ho, and Oh Inhwan. Born in the period around 1960, the three grew to maturity during South Korea’s rapid economic development in the 1970s and witnessed the violent struggle for democratization in the 1980s. Public monuments were grandiose structures deployed in the nation’s period of military dictatorship as propagandistic expressions of collective identity. In this essay, I argue that in their own unique ways each of these artists embraced antimonumentality as an idiom that could subvert the grammar of official monuments and reveal the dialectics at play in the sociohistorical and psychological processes of forming national identity. Humble, fragile, and often antagonistic, the artists’ antimonuments, which began to appear in the 1990s, challenge established views of Korean society and its gendered ideology and complicate the nation’s notions of communal values and the virtue of solidarity.
本研究考察了韩国当代艺术中锑碑的谱系，它体现在三位艺术家的作品中：Bahc Mo、Suh Do Ho和Oh Inhwan。三人出生于1960年左右，在20世纪70年代韩国经济快速发展的过程中逐渐成熟，并见证了20世纪80年代民主化的激烈斗争。公共纪念碑是在国家军事独裁时期部署的宏伟建筑，作为集体身份的宣传表达。在这篇文章中，我认为，这些艺术家中的每一位都以自己独特的方式将反纪念碑视为一种成语，这种成语可以颠覆官方纪念碑的语法，揭示在形成国家认同的社会历史和心理过程中发挥作用的辩证法。20世纪90年代开始出现的艺术家们的作品谦逊、脆弱，而且往往是对立的，挑战了韩国社会及其性别意识形态的既定观点，并使韩国的共同价值观和团结美德复杂化。
{"title":"The Antimonumental Impulse in Korean Contemporary Art","authors":"Jung-Ah Woo","doi":"10.1086/724141","DOIUrl":"https://doi.org/10.1086/724141","url":null,"abstract":"This study examines the genealogy of the antimonument in South Korean contemporary art as it manifests in the works of three artists: Bahc Mo, Suh Do Ho, and Oh Inhwan. Born in the period around 1960, the three grew to maturity during South Korea’s rapid economic development in the 1970s and witnessed the violent struggle for democratization in the 1980s. Public monuments were grandiose structures deployed in the nation’s period of military dictatorship as propagandistic expressions of collective identity. In this essay, I argue that in their own unique ways each of these artists embraced antimonumentality as an idiom that could subvert the grammar of official monuments and reveal the dialectics at play in the sociohistorical and psychological processes of forming national identity. Humble, fragile, and often antagonistic, the artists’ antimonuments, which began to appear in the 1990s, challenge established views of Korean society and its gendered ideology and complicate the nation’s notions of communal values and the virtue of solidarity.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"125 - 154"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43248164","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 1966 Judy Chicago made a series of three sculptures, each consisting of a group of circular columns ranging in height from two to nine inches. Formal variations among the three Untitled works reveal a playful oscillation between representational subject matter and abstract forms. These exquisite works have been absent from Chicago historiography, and we do not know their whereabouts. But the Rolf Nelson Gallery records at the Getty Research Institute contain several photographs of these sculptures. They are valuable resources that provide new insights into Chicago’s practice during the mid-1960s and the challenges she faced as a woman artist working in a male-dominated art world. More broadly, the sculptures speak to the stylistic ambiguities among the registers of minimal art, pop art, and environments, and to artists’ interest in sexually allusive subject matter that questions static, binary, and hierarchical conceptions of gender.
{"title":"Judy Chicago’s Lipstick Sculptures at the Rolf Nelson Gallery: Ambiguities between Minimal Art, Pop, and Environments","authors":"Susanneh Bieber","doi":"10.1086/724142","DOIUrl":"https://doi.org/10.1086/724142","url":null,"abstract":"In 1966 Judy Chicago made a series of three sculptures, each consisting of a group of circular columns ranging in height from two to nine inches. Formal variations among the three Untitled works reveal a playful oscillation between representational subject matter and abstract forms. These exquisite works have been absent from Chicago historiography, and we do not know their whereabouts. But the Rolf Nelson Gallery records at the Getty Research Institute contain several photographs of these sculptures. They are valuable resources that provide new insights into Chicago’s practice during the mid-1960s and the challenges she faced as a woman artist working in a male-dominated art world. More broadly, the sculptures speak to the stylistic ambiguities among the registers of minimal art, pop art, and environments, and to artists’ interest in sexually allusive subject matter that questions static, binary, and hierarchical conceptions of gender.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"155 - 172"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42465103","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}
Every sheet of premachine European paper bears the marks of three unique features of the handcrafted mold that was used to form it: the watermark, intervals between chain wires, and densities of laid wires (measured in frequency per inch/centimeter). Like a fingerprint, the internal patterns produced by the mold create a singular code. Two papers formed from the same mold and, thus, sharing the same code, are called “moldmates.” Scholars have long studied watermarks and, to a lesser extent, chain-line intervals in order to identify identical papers. Confirming moldmate status, however, has been difficult due to poor imaging. Laid-line density patterns have never been systematically recorded and studied. This article presents a protocol for applying computational programs to enhance, measure, compare, and match historical papers; the method is illustrated through case studies involving watermarked papers found in the Codex Leicester (Gates Collection) and the Codex Arundel (British Library, MS 263) by Leonardo da Vinci (1452–1519).
{"title":"Moldmates Matter: Computational Tools to Enhance, Measure, Compare, and Match Historical Papers","authors":"M. Ellis, C. R. Johnson, W. Sethares","doi":"10.1086/724136","DOIUrl":"https://doi.org/10.1086/724136","url":null,"abstract":"Every sheet of premachine European paper bears the marks of three unique features of the handcrafted mold that was used to form it: the watermark, intervals between chain wires, and densities of laid wires (measured in frequency per inch/centimeter). Like a fingerprint, the internal patterns produced by the mold create a singular code. Two papers formed from the same mold and, thus, sharing the same code, are called “moldmates.” Scholars have long studied watermarks and, to a lesser extent, chain-line intervals in order to identify identical papers. Confirming moldmate status, however, has been difficult due to poor imaging. Laid-line density patterns have never been systematically recorded and studied. This article presents a protocol for applying computational programs to enhance, measure, compare, and match historical papers; the method is illustrated through case studies involving watermarked papers found in the Codex Leicester (Gates Collection) and the Codex Arundel (British Library, MS 263) by Leonardo da Vinci (1452–1519).","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"1 - 24"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60729104","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 1967, architecture critic Ada Louise Huxtable embarked on an investigative journey to the USSR with a group of fourteen New York Times journalists. Upon her return, she published numerous writings on Soviet architecture and its protagonists, including newspaper articles, a report for Architectural Forum, and a book essay. The present article reconstructs the circumstances that led to the formulation of these stories and examines how the critic tailored them to a North American readership. By tracing the untold negotiations between public and personal expectations and individual perceptions that led to the final narrative through the documents held in her husband’s archive, that of industrial designer L. Garth Huxtable, this article explores the gray areas surrounding the critic’s assessment of the Soviet “architectural Sputnik.”
{"title":"Building a Soviet “Architectural Sputnik”: Behind the Scenes in the Ada Louise Huxtable and L. Garth Huxtable Papers","authors":"Valeria Casali","doi":"10.1086/724143","DOIUrl":"https://doi.org/10.1086/724143","url":null,"abstract":"In 1967, architecture critic Ada Louise Huxtable embarked on an investigative journey to the USSR with a group of fourteen New York Times journalists. Upon her return, she published numerous writings on Soviet architecture and its protagonists, including newspaper articles, a report for Architectural Forum, and a book essay. The present article reconstructs the circumstances that led to the formulation of these stories and examines how the critic tailored them to a North American readership. By tracing the untold negotiations between public and personal expectations and individual perceptions that led to the final narrative through the documents held in her husband’s archive, that of industrial designer L. Garth Huxtable, this article explores the gray areas surrounding the critic’s assessment of the Soviet “architectural Sputnik.”","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"173 - 188"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48457982","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 analyzes the business operations of the Belgian Gallery, a commercial art gallery established in New York City in 1852 by painter Ferdinand De Braekeleer the Younger. Aided by the Belgian government, De Braekeleer set up a luxurious exhibition space, built a client base of some of the the first American collectors with a taste for contemporary European art, devised new strategies for publicity and distribution, and succeeded in marketing Belgian art as a veritable national brand. This case study offers a rare glimpse into the operations of an early commercial art gallery in the United States. It also shows that the conditions that would lead to the golden age of collecting in the U.S. after the Civil War were already developing and creating important business opportunities in the early 1850s.
这篇文章分析了比利时画廊的商业运作，比利时画廊是由画家Ferdinand De Braekeleer the Younger于1852年在纽约市成立的一家商业画廊。在比利时政府的帮助下，De Braekeleer建立了一个豪华的展览空间，建立了一批首批对当代欧洲艺术有兴趣的美国收藏家的客户群，制定了新的宣传和分销策略，并成功地将比利时艺术推广为一个名副其实的国家品牌。这个案例研究提供了一个罕见的一瞥，一个早期的商业艺术画廊在美国的运作。它还表明，在19世纪50年代初，导致美国内战后收藏黄金时代的条件已经在发展，并创造了重要的商业机会。
{"title":"Selling the Belgian School: The Belgian Gallery in New York City (1852–55)","authors":"Jan Baetens","doi":"10.1086/724137","DOIUrl":"https://doi.org/10.1086/724137","url":null,"abstract":"This article analyzes the business operations of the Belgian Gallery, a commercial art gallery established in New York City in 1852 by painter Ferdinand De Braekeleer the Younger. Aided by the Belgian government, De Braekeleer set up a luxurious exhibition space, built a client base of some of the the first American collectors with a taste for contemporary European art, devised new strategies for publicity and distribution, and succeeded in marketing Belgian art as a veritable national brand. This case study offers a rare glimpse into the operations of an early commercial art gallery in the United States. It also shows that the conditions that would lead to the golden age of collecting in the U.S. after the Civil War were already developing and creating important business opportunities in the early 1850s.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"25 - 54"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42947987","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 anthropologist Claude Lévi-Strauss’s writings on the Indian subcontinent’s emergence and demographic configuration as a region in the 1950s. It traces how changes in perception engendered by air and train travel attuned Lévi-Strauss to the vectors of dispossession and displacement revealed in the post-Partition landscape as a profound rupture in the relation between figure and ground. Placing his febrile descriptions of the Mughal architecture and destitute, laboring bodies that he saw in India and Pakistan in relation to Partition-era photographs of similar subject matter, this article substantiates Lévi-Strauss’s astute, however fleeting, formalist discernment of how the forces of globalization unmoored human beings from the bonds of community and transformed them into undesirable population figures. In so doing, it demonstrates the urgency for an art historical attention to form to challenge the hegemonic, quantitative discourse on overpopulation.
{"title":"Claude Lévi-Strauss’s Population Figures","authors":"Zirwat Chowdhury","doi":"10.1086/724140","DOIUrl":"https://doi.org/10.1086/724140","url":null,"abstract":"This article examines anthropologist Claude Lévi-Strauss’s writings on the Indian subcontinent’s emergence and demographic configuration as a region in the 1950s. It traces how changes in perception engendered by air and train travel attuned Lévi-Strauss to the vectors of dispossession and displacement revealed in the post-Partition landscape as a profound rupture in the relation between figure and ground. Placing his febrile descriptions of the Mughal architecture and destitute, laboring bodies that he saw in India and Pakistan in relation to Partition-era photographs of similar subject matter, this article substantiates Lévi-Strauss’s astute, however fleeting, formalist discernment of how the forces of globalization unmoored human beings from the bonds of community and transformed them into undesirable population figures. In so doing, it demonstrates the urgency for an art historical attention to form to challenge the hegemonic, quantitative discourse on overpopulation.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"17 1","pages":"107 - 124"},"PeriodicalIF":0.1,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43426776","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 collection of the J. Paul Getty Museum at the Getty Villa contains an Aegean Bronze Age ceramic jar with stippled decoration that is described as an imitation of the dimpled shell of an ostrich egg. This essay takes a closer look at the historical development of the long scholarly association of ceramic vessel shapes and motifs with the imitation of ostrich-eggshell vessels in the Aegean Bronze Age, deconstructing any meaningful relationship between them. In doing so, it also classifies the Getty jar in current typology and redates it to provide a more precise identification.
{"title":"A So-Called Ostrich-Eggshell Vessel at the J. Paul Getty Museum","authors":"T. Hodos","doi":"10.1086/721982","DOIUrl":"https://doi.org/10.1086/721982","url":null,"abstract":"The collection of the J. Paul Getty Museum at the Getty Villa contains an Aegean Bronze Age ceramic jar with stippled decoration that is described as an imitation of the dimpled shell of an ostrich egg. This essay takes a closer look at the historical development of the long scholarly association of ceramic vessel shapes and motifs with the imitation of ostrich-eggshell vessels in the Aegean Bronze Age, deconstructing any meaningful relationship between them. In doing so, it also classifies the Getty jar in current typology and redates it to provide a more precise identification.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"1 - 18"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45383153","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 Dieterle family records of French art galleries, 1846–1986, at the Getty Research Institute, hold the stock books of the Parisian gallery Tedesco Frères. The stock books document transactions relating to approximately two hundred artworks by nineteenth-century painter Rosa Bonheur, who is considered one of the most prominent women artists of her time. Bonheur herself stressed the importance of Tedesco Frères for her career, along with the significance of the role played by publisher and dealer Ernest Gambart. While Gambart’s contributions to Bonheur’s popularity have received much scholarly attention, the contributions of Tedesco Frères are rarely mentioned. The records in the archive furnish the extent of the dealings by Tedesco Frères and enable new conclusions about the gallery’s impact on Bonheur’s commercial success and international fame. The gallery’s sales strategies are also evaluated in the context of the growing internationalization of art markets in the late nineteenth century.
{"title":"Tedesco Frères Selling Rosa Bonheur: An Inquiry into Dealers’ Stock Books","authors":"Isabella Zuralski-Yeager","doi":"10.1086/721990","DOIUrl":"https://doi.org/10.1086/721990","url":null,"abstract":"The Dieterle family records of French art galleries, 1846–1986, at the Getty Research Institute, hold the stock books of the Parisian gallery Tedesco Frères. The stock books document transactions relating to approximately two hundred artworks by nineteenth-century painter Rosa Bonheur, who is considered one of the most prominent women artists of her time. Bonheur herself stressed the importance of Tedesco Frères for her career, along with the significance of the role played by publisher and dealer Ernest Gambart. While Gambart’s contributions to Bonheur’s popularity have received much scholarly attention, the contributions of Tedesco Frères are rarely mentioned. The records in the archive furnish the extent of the dealings by Tedesco Frères and enable new conclusions about the gallery’s impact on Bonheur’s commercial success and international fame. The gallery’s sales strategies are also evaluated in the context of the growing internationalization of art markets in the late nineteenth century.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"195 - 208"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46144649","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}
A sixteenth-century source documents that Veit Stoss, arguably the leading German sculptor in the years around 1500, created small-scale crucifixes for connoisseurs. A few small sculptures of other subjects by Stoss were known for some time, but not a single crucifix. The first such work resurfaced only in 2011. It has now been acquired by the J. Paul Getty Museum. This article aims to situate the work relative to six large crucifixes Stoss created during the years he worked in Kraków (1477–96), then the capital of Poland, and in Nuremberg, the big economic hub of southern Germany where he worked for over three decades. Among the works discussed is another crucifix barely known until today, but preserved in the small church of Iwanowice, near Kraków. Like other crucifixes by Stoss, the new acquisition is distinguished by the artist’s sublime knowledge of anatomy, most likely based on personal anatomical studies.
{"title":"Virtuosity for Connoisseurs: The First Small Crucifix by Veit Stoss Resurfaces","authors":"Matthias Weniger","doi":"10.1086/721983","DOIUrl":"https://doi.org/10.1086/721983","url":null,"abstract":"A sixteenth-century source documents that Veit Stoss, arguably the leading German sculptor in the years around 1500, created small-scale crucifixes for connoisseurs. A few small sculptures of other subjects by Stoss were known for some time, but not a single crucifix. The first such work resurfaced only in 2011. It has now been acquired by the J. Paul Getty Museum. This article aims to situate the work relative to six large crucifixes Stoss created during the years he worked in Kraków (1477–96), then the capital of Poland, and in Nuremberg, the big economic hub of southern Germany where he worked for over three decades. Among the works discussed is another crucifix barely known until today, but preserved in the small church of Iwanowice, near Kraków. Like other crucifixes by Stoss, the new acquisition is distinguished by the artist’s sublime knowledge of anatomy, most likely based on personal anatomical studies.","PeriodicalId":41510,"journal":{"name":"Getty Research Journal","volume":"16 1","pages":"19 - 40"},"PeriodicalIF":0.1,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45050050","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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