Pub Date : 2020-07-02DOI: 10.1080/01973762.2021.1960777
Nea Ehrlich
Animated informational imagery about Covid-19 has become omnipresent; so too have imaginative depictions of how life has changed under lockdown, animating both the psychological and physical aspects of life in quarantine. This article examines the reasons why animation is an apt visual language to engage with Covid-19 and the wider epistemological and ethical issues that this raises about animated imagery in the digital era. I claim that animation has become so omnipresent in the visual culture of Covid-19 because of an interesting relation between (1) the definitions of animation; (2) animation’s qualities as informational aesthetics; and (3) animation’s central role in digital screen culture. As imagery that engages with a global epidemic, animation plays a dual role: as an increasingly dominant informational aesthetic in contemporary visual culture and as self-reflexive imagery about the nature of life.
{"title":"Viral Imagery: The Animated Face of Covid-19","authors":"Nea Ehrlich","doi":"10.1080/01973762.2021.1960777","DOIUrl":"https://doi.org/10.1080/01973762.2021.1960777","url":null,"abstract":"Animated informational imagery about Covid-19 has become omnipresent; so too have imaginative depictions of how life has changed under lockdown, animating both the psychological and physical aspects of life in quarantine. This article examines the reasons why animation is an apt visual language to engage with Covid-19 and the wider epistemological and ethical issues that this raises about animated imagery in the digital era. I claim that animation has become so omnipresent in the visual culture of Covid-19 because of an interesting relation between (1) the definitions of animation; (2) animation’s qualities as informational aesthetics; and (3) animation’s central role in digital screen culture. As imagery that engages with a global epidemic, animation plays a dual role: as an increasingly dominant informational aesthetic in contemporary visual culture and as self-reflexive imagery about the nature of life.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"247 - 261"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41552125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/01973762.2020.1672369
Erika Loic
In light of recent research into the iconicity and materiality of script, I review a particular type of decorated initial that incorporates images of dialogue, authorship, and scribal practice. Monastic scribes reflected on the forms of divine communication by integrating message and medium into their letter designs, many of which were self-reflexive and visually dynamic. Their inventive creations embodied their attitudes towards the written and spoken word as presence (material, corporeal, sacred), process (technical, sensory), and partnership (expressive, interpretative). Following an introduction to the graphic culture of early Christianity, I cover examples that span a period beginning around the year 800 and concluding in the twelfth century, when it became increasingly common for book illuminators to flourish outside of strictly monastic contexts.
{"title":"The Letter as Presence, Process, and Partnership: Mergers of Message and Medium in the Medieval Initial","authors":"Erika Loic","doi":"10.1080/01973762.2020.1672369","DOIUrl":"https://doi.org/10.1080/01973762.2020.1672369","url":null,"abstract":"In light of recent research into the iconicity and materiality of script, I review a particular type of decorated initial that incorporates images of dialogue, authorship, and scribal practice. Monastic scribes reflected on the forms of divine communication by integrating message and medium into their letter designs, many of which were self-reflexive and visually dynamic. Their inventive creations embodied their attitudes towards the written and spoken word as presence (material, corporeal, sacred), process (technical, sensory), and partnership (expressive, interpretative). Following an introduction to the graphic culture of early Christianity, I cover examples that span a period beginning around the year 800 and concluding in the twelfth century, when it became increasingly common for book illuminators to flourish outside of strictly monastic contexts.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"148 - 174"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2020.1672369","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49163846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/01973762.2020.1746499
Heather L. Waldroup
This article considers two compilations containing photographs of undressed women. The first is an album in the standard definition, “compiled by a painter for figure studies” in the 1890s. The second is an extra-illustrated book published in 1896 with a number of images of nude and partially nude women glued in to the text. In both, the inclusion of nude photographs heightens their function as suggestions of sexual sequence, the unfolding of a series of events or encounters. By arranging their photographs within the pages of a bound object, the creators fashioned not only mnemonic aides, but active eroticized narratives, for their own use and perhaps for the use of a select audience of viewer-friends. The narrative experiences produced through the act of looking would have been heightened by the materiality of the photographs contained within them. The two examples considered here also offer the possibility of viewing the wide stylistic range of a certain genre that can otherwise be difficult to see: the nineteenth-century photographic nude. The album format and the narrative it enables, combined with the tactility and physicality of the photographs themselves, enhances the inherent eroticism of the images. These two albums operate as analogs for understanding the relationships between intimacy, memory, and desire, and the way these are activated through the performance of looking and touching. They exist at the rich intersection of visual and material studies, as both images and things, meant to be seen and touched.
{"title":"The Nude in the Album: Materiality and Erotic Narrative","authors":"Heather L. Waldroup","doi":"10.1080/01973762.2020.1746499","DOIUrl":"https://doi.org/10.1080/01973762.2020.1746499","url":null,"abstract":"This article considers two compilations containing photographs of undressed women. The first is an album in the standard definition, “compiled by a painter for figure studies” in the 1890s. The second is an extra-illustrated book published in 1896 with a number of images of nude and partially nude women glued in to the text. In both, the inclusion of nude photographs heightens their function as suggestions of sexual sequence, the unfolding of a series of events or encounters. By arranging their photographs within the pages of a bound object, the creators fashioned not only mnemonic aides, but active eroticized narratives, for their own use and perhaps for the use of a select audience of viewer-friends. The narrative experiences produced through the act of looking would have been heightened by the materiality of the photographs contained within them. The two examples considered here also offer the possibility of viewing the wide stylistic range of a certain genre that can otherwise be difficult to see: the nineteenth-century photographic nude. The album format and the narrative it enables, combined with the tactility and physicality of the photographs themselves, enhances the inherent eroticism of the images. These two albums operate as analogs for understanding the relationships between intimacy, memory, and desire, and the way these are activated through the performance of looking and touching. They exist at the rich intersection of visual and material studies, as both images and things, meant to be seen and touched.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"195 - 214"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2020.1746499","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44812084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/01973762.2020.1746498
A. Barnes
In this article, I discuss a project designed to increase knowledge of and make more accessible a collection of post-1949 Chinese propaganda posters at the British Library, for the benefit of a global audience of researchers and interested members of the public. The project identified 90 individual items, dating from 1950 to 1982, with the bulk of the collection published in the mid-1960s just before the commencement of the Cultural Revolution. The article considers the development of the collection, its thematic scope and analysis of its scholarly value. It concludes that beyond the aesthetic value of the posters, the collection has significant scholarly and multidisciplinary value. The posters are documentary evidence of political, social and cultural discourse of the Maoist period and have resonances and significance beyond the national borders of China.
{"title":"Chinese Propaganda Posters at the British Library","authors":"A. Barnes","doi":"10.1080/01973762.2020.1746498","DOIUrl":"https://doi.org/10.1080/01973762.2020.1746498","url":null,"abstract":"In this article, I discuss a project designed to increase knowledge of and make more accessible a collection of post-1949 Chinese propaganda posters at the British Library, for the benefit of a global audience of researchers and interested members of the public. The project identified 90 individual items, dating from 1950 to 1982, with the bulk of the collection published in the mid-1960s just before the commencement of the Cultural Revolution. The article considers the development of the collection, its thematic scope and analysis of its scholarly value. It concludes that beyond the aesthetic value of the posters, the collection has significant scholarly and multidisciplinary value. The posters are documentary evidence of political, social and cultural discourse of the Maoist period and have resonances and significance beyond the national borders of China.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"124 - 147"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2020.1746498","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43785839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/01973762.2019.1681174
Hanneke van Asperen
Prints depicting disasters were produced to create visible and explicit markers of memorable events. In this essay, a print with an allegory of a fire in Amsterdam’s Schouwburg theatre is used to investigate this particular function of disaster prints, first by looking closely at the iconography and then at the larger network of disasters that were used as points of reference after the fire. The print serves as a starting point for investigating the deeper impact of images in the longer term. The same format was adopted 35 years later, in a print depicting the explosion of a gunpowder ship in the heart of the city of Leiden. It seems that the allegory of the fire gave the artist the same possibilities of visualising communally felt feelings of loss. Furthermore, the print of the Leiden explosion was consciously designed to evoke memories of a fire in Amsterdam where its primary audience was located. These destructive disasters had an impact that transcended towns and regions, and prints referred back to disasters in the past to communicate impact of recent events. In the Leiden print, meant for an Amsterdam audience, the usual points of reference were complemented with an image of a local disaster, i.e. the Schouwburg fire, to underline and encourage interurban connections. This allusion to a carefully chosen disaster in the past helped evoke an appropriate response to a catastrophe in the present. This art historical study offers insight into the importance of images in disaster responses and demonstrates how disaster prints could stimulate interurban charity by evoking familiar pictures of local catastrophes.
{"title":"Catastrophes on Stage: Interurban Connections in Disaster Prints of the Late Eighteenth Century","authors":"Hanneke van Asperen","doi":"10.1080/01973762.2019.1681174","DOIUrl":"https://doi.org/10.1080/01973762.2019.1681174","url":null,"abstract":"Prints depicting disasters were produced to create visible and explicit markers of memorable events. In this essay, a print with an allegory of a fire in Amsterdam’s Schouwburg theatre is used to investigate this particular function of disaster prints, first by looking closely at the iconography and then at the larger network of disasters that were used as points of reference after the fire. The print serves as a starting point for investigating the deeper impact of images in the longer term. The same format was adopted 35 years later, in a print depicting the explosion of a gunpowder ship in the heart of the city of Leiden. It seems that the allegory of the fire gave the artist the same possibilities of visualising communally felt feelings of loss. Furthermore, the print of the Leiden explosion was consciously designed to evoke memories of a fire in Amsterdam where its primary audience was located. These destructive disasters had an impact that transcended towns and regions, and prints referred back to disasters in the past to communicate impact of recent events. In the Leiden print, meant for an Amsterdam audience, the usual points of reference were complemented with an image of a local disaster, i.e. the Schouwburg fire, to underline and encourage interurban connections. This allusion to a carefully chosen disaster in the past helped evoke an appropriate response to a catastrophe in the present. This art historical study offers insight into the importance of images in disaster responses and demonstrates how disaster prints could stimulate interurban charity by evoking familiar pictures of local catastrophes.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"123 - 97"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2019.1681174","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42038741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/01973762.2019.1632579
Ayse H. Koksal
This article discusses the ways in which Occidentalism, as a dialogical making of Turkish modernity associated with a non-Western context, extends to the contemporary era as the social imaginary of the artistic field. The social imaginary, as defined by Charles Taylor, is the shared structure of meanings, and provides a basis for generating common practices while, at the same time, granting a sense of legitimacy for a group of people. In this respect, the article claims that Occidentalism, which ultimately refers to the boundary management of what is imagined as West and East, underlines the myth of the artistic social imaginary. The Occidentalist imaginary sanctions artists as the competent performers of the boundary management between the West and the East, past and present, local and global, with its shifting associations. As Taylor notes, the ways in which people imagine their social existence are carried in images, stories and legends. This article investigates the narratives of art museum exhibitions to grasp both factual and normative understandings. To understand the interplay between change and continuity in the Occidentalist imaginary, the article focuses on Istanbul Modern, the museum of modern and contemporary art in Istanbul founded in 2004. The analysis of narratives produced through exhibitions and the interpretation of the museum’s collections not only reveals the patterns and shifts in the ways of producing the Occidentalist imaginary, but also illustrates the logic that sustains its extension to the global contemporary era.
{"title":"The Occidentalist Imaginary of Istanbul Modern: A Case for Social Imaginaries in the Age of Global Contemporary","authors":"Ayse H. Koksal","doi":"10.1080/01973762.2019.1632579","DOIUrl":"https://doi.org/10.1080/01973762.2019.1632579","url":null,"abstract":"This article discusses the ways in which Occidentalism, as a dialogical making of Turkish modernity associated with a non-Western context, extends to the contemporary era as the social imaginary of the artistic field. The social imaginary, as defined by Charles Taylor, is the shared structure of meanings, and provides a basis for generating common practices while, at the same time, granting a sense of legitimacy for a group of people. In this respect, the article claims that Occidentalism, which ultimately refers to the boundary management of what is imagined as West and East, underlines the myth of the artistic social imaginary. The Occidentalist imaginary sanctions artists as the competent performers of the boundary management between the West and the East, past and present, local and global, with its shifting associations. As Taylor notes, the ways in which people imagine their social existence are carried in images, stories and legends. This article investigates the narratives of art museum exhibitions to grasp both factual and normative understandings. To understand the interplay between change and continuity in the Occidentalist imaginary, the article focuses on Istanbul Modern, the museum of modern and contemporary art in Istanbul founded in 2004. The analysis of narratives produced through exhibitions and the interpretation of the museum’s collections not only reveals the patterns and shifts in the ways of producing the Occidentalist imaginary, but also illustrates the logic that sustains its extension to the global contemporary era.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"70 - 96"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2019.1632579","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46177321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/01973762.2018.1496533
J. Woolfson
Although Italian artistic influence never supplanted England’s longstanding and ongoing artistic relations with France and the Netherlands, in the era of Henry VIII (ruled 1509–1547) it became a significant element within it, partly for political reasons. In recent years, research on this subject has been active, revealing many connections between visual developments in England and Italy in a wide range of contexts. This article explores recent work on these complex intersections from the beginnings of the Tudor period to the early 1540s. Four key themes are discussed: Italian influences mediated through France and the Netherlands; the impact of the circulation of images in the era of print technology; Italian artists who worked in England; and the role of merchants. Through this survey, the article explains how standard work has been challenged and redirected on areas such as classicism; the importance of particular materials, objects, motifs, and techniques; the status of Italian artists who worked in England; and the sophistication of their English patrons. The article ends by noting how recent work on Italian merchants as mediators of Italian art and artists in England is aligning this area with the broader recent interest in the economics of art.
{"title":"Renaissance Intersections: The Arts of Italy and Early Tudor Visual Experience","authors":"J. Woolfson","doi":"10.1080/01973762.2018.1496533","DOIUrl":"https://doi.org/10.1080/01973762.2018.1496533","url":null,"abstract":"Although Italian artistic influence never supplanted England’s longstanding and ongoing artistic relations with France and the Netherlands, in the era of Henry VIII (ruled 1509–1547) it became a significant element within it, partly for political reasons. In recent years, research on this subject has been active, revealing many connections between visual developments in England and Italy in a wide range of contexts. This article explores recent work on these complex intersections from the beginnings of the Tudor period to the early 1540s. Four key themes are discussed: Italian influences mediated through France and the Netherlands; the impact of the circulation of images in the era of print technology; Italian artists who worked in England; and the role of merchants. Through this survey, the article explains how standard work has been challenged and redirected on areas such as classicism; the importance of particular materials, objects, motifs, and techniques; the status of Italian artists who worked in England; and the sophistication of their English patrons. The article ends by noting how recent work on Italian merchants as mediators of Italian art and artists in England is aligning this area with the broader recent interest in the economics of art.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2018.1496533","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46582036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/01973762.2020.1672358
Lauren Walden
As part of the 1936 International Surrealist Exhibition held at the New Burlington Galleries in London, ethnographic photographs of non-Western objects were taken at the British Museum and interspersed amongst Surrealist artwork. Ten photographs in total were used, spanning Solomon Island Fish Coffins to Congolese Nail Fetishes. The article analyses these photographs as sculptures and in terms of their significance to the 1936 exhibition display and their wider impact upon the Surrealist movement. It reveals that Paul Nash and Hugh Sykes Davies were responsible for the selection of the non-Western objects to be photographed. At the exhibition opening André Breton gave a transformative lecture, ‘Limites Non-Frontières du Surréalisme [Borderless limits of Surrealism]’ which conjoined notions of cosmopolitanism and the spirit. The inclusion of the British Museum photographs was clearly intended to aesthetically mirror the content of Breton’s speech. This article thus postulates that the Surrealists intended to propagate a cosmopolitan method of curation through a transcendence of taxonomic display mechanisms common to ethnographic museum environments, such as the very one the photographs were taken in. Moreover, the British Museum photographs chosen by the Surrealists all have religious and spiritual connotations. Such embodied manifestations are a particular brand of border crossing that should also be considered an element of a burgeoning discourse surrounding international Surrealism. Consequently, the oft-cited impact of Freud’s Totem and Taboo (1913) upon Surrealist ethnography, which denounces the totem as a precursor to religious belief and madness, is marginalised.
{"title":"British Museum Ethnographic Photography at the 1936 International Surrealist Exhibition","authors":"Lauren Walden","doi":"10.1080/01973762.2020.1672358","DOIUrl":"https://doi.org/10.1080/01973762.2020.1672358","url":null,"abstract":"As part of the 1936 International Surrealist Exhibition held at the New Burlington Galleries in London, ethnographic photographs of non-Western objects were taken at the British Museum and interspersed amongst Surrealist artwork. Ten photographs in total were used, spanning Solomon Island Fish Coffins to Congolese Nail Fetishes. The article analyses these photographs as sculptures and in terms of their significance to the 1936 exhibition display and their wider impact upon the Surrealist movement. It reveals that Paul Nash and Hugh Sykes Davies were responsible for the selection of the non-Western objects to be photographed. At the exhibition opening André Breton gave a transformative lecture, ‘Limites Non-Frontières du Surréalisme [Borderless limits of Surrealism]’ which conjoined notions of cosmopolitanism and the spirit. The inclusion of the British Museum photographs was clearly intended to aesthetically mirror the content of Breton’s speech. This article thus postulates that the Surrealists intended to propagate a cosmopolitan method of curation through a transcendence of taxonomic display mechanisms common to ethnographic museum environments, such as the very one the photographs were taken in. Moreover, the British Museum photographs chosen by the Surrealists all have religious and spiritual connotations. Such embodied manifestations are a particular brand of border crossing that should also be considered an element of a burgeoning discourse surrounding international Surrealism. Consequently, the oft-cited impact of Freud’s Totem and Taboo (1913) upon Surrealist ethnography, which denounces the totem as a precursor to religious belief and madness, is marginalised.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"36 1","pages":"43 - 69"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2020.1672358","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44358454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1080/01973762.2019.1669872
Barbara Pezzini
This special issue of Visual Resources builds upon the research of Foteini Vlachou (1975–2017). Vlachou intended to be Art and the Periphery’s Guest Editor, but the project was tragically interrupted by her death and this volume is now published in memoriam. Even if recent studies on the periphery have focused principally on the Global South, Art and the Periphery follows Vlachou’s take on the subject, exploring principally how the concept of periphery developed within the European and Western tradition. This issue, therefore, brings together case studies on ancient Egyptian art, Latin American artists in Paris, Iberian modernism, the internationalization of French Surrealism, museums in the Austro-Hungarian Empire, and Norwegian architecture. The articles assume, as advocated by Vlachou in her unfinished contribution in this volume, a wide range of methodological and theoretical positions, while maintaining a strong awareness of the periphery’s political association with capitalism and its fundamentally unequal power configurations. This introduction presents the contributions of the special issue in the context of Vlachou’s own work and interprets them through the lens of postcolonial theory, especially taking heed of the observations by cultural theorist Homi Bhabha (b. 1949) on the transmission of European cultural mechanisms and their reflection into global inequalities. A final coda identifies the study of art and the periphery as particularly relevant for Europe in this historical moment in which its unity is questioned by many of its nations.
{"title":"Art and the Periphery and Foteini Vlachou: Exploring the “Difference Within” in European and Western Art","authors":"Barbara Pezzini","doi":"10.1080/01973762.2019.1669872","DOIUrl":"https://doi.org/10.1080/01973762.2019.1669872","url":null,"abstract":"This special issue of Visual Resources builds upon the research of Foteini Vlachou (1975–2017). Vlachou intended to be Art and the Periphery’s Guest Editor, but the project was tragically interrupted by her death and this volume is now published in memoriam. Even if recent studies on the periphery have focused principally on the Global South, Art and the Periphery follows Vlachou’s take on the subject, exploring principally how the concept of periphery developed within the European and Western tradition. This issue, therefore, brings together case studies on ancient Egyptian art, Latin American artists in Paris, Iberian modernism, the internationalization of French Surrealism, museums in the Austro-Hungarian Empire, and Norwegian architecture. The articles assume, as advocated by Vlachou in her unfinished contribution in this volume, a wide range of methodological and theoretical positions, while maintaining a strong awareness of the periphery’s political association with capitalism and its fundamentally unequal power configurations. This introduction presents the contributions of the special issue in the context of Vlachou’s own work and interprets them through the lens of postcolonial theory, especially taking heed of the observations by cultural theorist Homi Bhabha (b. 1949) on the transmission of European cultural mechanisms and their reflection into global inequalities. A final coda identifies the study of art and the periphery as particularly relevant for Europe in this historical moment in which its unity is questioned by many of its nations.","PeriodicalId":41894,"journal":{"name":"Visual Resources","volume":"35 1","pages":"185 - 192"},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01973762.2019.1669872","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42888612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1080/01973762.2018.1435394
Inna Pravdenko
In the nineteenth century, aspiring artists from many parts of the world were going to Europe in search of artistic perfection. In Paris, like in the principal European capitals of the time, there existed wide networks of migrating artists, international exhibitions, and travelling artworks. This circulation of people and goods shaped the global art system and formed its underlying structure. Even if Latin American painters contributed to these networks and expanded them from Europe to the New World, their role in the establishment of the modernist canon is not yet fully recognized. Because of the reductive art historical narrative and the paucity of archival records, many names of Latin American artists have disappeared from art historical accounts, and many works of art have been held in isolation in the store rooms of peripheral museums, or disappeared into private collections. The significant absence of these painters, often explained in terms of their backwardness and derivative style, is here determined by the structural inequality between the artistic center for which they longed and the periphery from which they came. This article explores the trajectories of Latin American painters in Paris who participated in the Salons of the Société Nationale des Beaux-arts from 1890 to 1899, and revisits their position in the modern canon.
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