Ralph Fasanella’s painting Dress Shop (fig. 1) attests to the enduring importance of the local. In the center of the composition, Fasanella (1914–1997) peels away the brick façade of the garment factory, allowing viewers to witness a busy shop floor. On the left, workers— most of them women—sit at long tables, poring over black sewing machines. On the right, workers steam, press, and finish the garments that will make their way to market. Thus, Dress Shop offers a glimpse into a scene Fasanella likely considered “local.” Having accompanied his mother, a buttonhole maker, to the New York City dress shop where she worked during his childhood, Fasanella was, by adulthood, intimately familiar with the rhythm and hum of a factory floor.1 Nurtured by his mother’s antifascist and trade-unionist politics, Fasanella would eventually become a radical labor organizer whose fight for the dignity of workers’ lives caused him to be blacklisted during the McCarthy era.2 This familiarity with which he approaches Dress Shop’s subjects subverts its otherwise schematized aesthetic: while his figures might seem generic representations of anonymous workers, Fasanella individuates each figure’s dress and posture—even modeling some after himself and people he knew.3 A yellow sign hanging on the building’s façade, “In Memory of the Triangle Shirt Workers,” reminds the viewer that the lives of workers are both sacred and precious, emphasizing that protected labor is, quite literally, a matter of life and death.4 Thus, the focal center of the painting, the shop floor, illustrates not just sites of production but a community of laborers themselves.
{"title":"Art History and the Local","authors":"J. Silverman, M. Mcneil","doi":"10.24926/24716839.13157","DOIUrl":"https://doi.org/10.24926/24716839.13157","url":null,"abstract":"Ralph Fasanella’s painting Dress Shop (fig. 1) attests to the enduring importance of the local. In the center of the composition, Fasanella (1914–1997) peels away the brick façade of the garment factory, allowing viewers to witness a busy shop floor. On the left, workers— most of them women—sit at long tables, poring over black sewing machines. On the right, workers steam, press, and finish the garments that will make their way to market. Thus, Dress Shop offers a glimpse into a scene Fasanella likely considered “local.” Having accompanied his mother, a buttonhole maker, to the New York City dress shop where she worked during his childhood, Fasanella was, by adulthood, intimately familiar with the rhythm and hum of a factory floor.1 Nurtured by his mother’s antifascist and trade-unionist politics, Fasanella would eventually become a radical labor organizer whose fight for the dignity of workers’ lives caused him to be blacklisted during the McCarthy era.2 This familiarity with which he approaches Dress Shop’s subjects subverts its otherwise schematized aesthetic: while his figures might seem generic representations of anonymous workers, Fasanella individuates each figure’s dress and posture—even modeling some after himself and people he knew.3 A yellow sign hanging on the building’s façade, “In Memory of the Triangle Shirt Workers,” reminds the viewer that the lives of workers are both sacred and precious, emphasizing that protected labor is, quite literally, a matter of life and death.4 Thus, the focal center of the painting, the shop floor, illustrates not just sites of production but a community of laborers themselves.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336526","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}
{"title":"Of Dreams, Relatives, Spirits and the Peabody Museum of Archaeology and Ethnology at Harvard","authors":"","doi":"10.24926/24716839.13183","DOIUrl":"https://doi.org/10.24926/24716839.13183","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"-1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336545","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}
{"title":"Melancholy as Medium","authors":"","doi":"10.24926/24716839.13243","DOIUrl":"https://doi.org/10.24926/24716839.13243","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336609","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}
{"title":"More from 3AM","authors":"","doi":"10.24926/24716839.13264","DOIUrl":"https://doi.org/10.24926/24716839.13264","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336621","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}
{"title":"Joseph E. Yoakum: What I Saw","authors":"","doi":"10.24926/24716839.13354","DOIUrl":"https://doi.org/10.24926/24716839.13354","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336700","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}
A person handed me a white glove stained in red paint and returned to the base of the statue, where fellow protestors had finished setting up the PA system. “The Columbus Monument must come down! It is an ongoing reminder of the city’s complacency with systemic oppression and colonialism. . . . Nobody is free until everybody is free!” demanded Alice “Queen” Olom in Syracuse, New York, on October 11, 2021.1 A few dozen protestors clapped while others nodded in agreement. Several dog walkers edged near the crowd, removing earbuds to better hear the commotion. I listened to the protestors from the steep staircase of the Beaux-Arts Onondaga Courthouse (fig. 1), designed in 1904 by local architect Archimedes Russell. From the elevated staircase, the crowd appeared small against the tall spires of Russell’s Cathedral of the Immaculate Conception, which also stood along Columbus Circle, so named after the statue’s dedication in 1934. Protestors circled the bronze statue of the explorer, raised their red-stained gloves, and chanted, “Take it down!”
一个人递给我一只沾着红漆的白手套,然后回到雕像的底部,在那里,其他抗议者已经安装好了广播系统。“哥伦布纪念碑必须拆掉!”它不断提醒人们,这个城市对系统性压迫和殖民主义的自满. . . .没有人是自由的,直到每个人都自由!“女王”爱丽丝·奥洛姆(Alice“Queen”Olom)于2021年10月11日在纽约州锡拉丘兹问道。几十名抗议者鼓掌,其他人点头表示同意。几个遛狗的人慢慢靠近人群,摘下耳塞,以便更好地听到骚动。我在奥内达加法院大楼(图1)的陡峭楼梯上倾听抗议者的声音,这座大楼是1904年由当地建筑师阿基米德·罗素设计的。站在高架楼梯上,在罗素无原胎大教堂(Russell 's Cathedral of the Immaculate Conception)高高的尖顶的映照下,人群显得不多。这座大教堂也坐落在哥伦布圆环(Columbus Circle)沿线,因1934年雕像的落成而得名。抗议者围着这位探险家的铜像,举起沾满红色的手套,高呼:“把它拿下!”
{"title":"Naming, Blaming, and Claiming: The Columbus Monument and the Struggle for Diversity Rights in Syracuse, New York","authors":"Kristina Borrman","doi":"10.24926/24716839.15172","DOIUrl":"https://doi.org/10.24926/24716839.15172","url":null,"abstract":"A person handed me a white glove stained in red paint and returned to the base of the statue, where fellow protestors had finished setting up the PA system. “The Columbus Monument must come down! It is an ongoing reminder of the city’s complacency with systemic oppression and colonialism. . . . Nobody is free until everybody is free!” demanded Alice “Queen” Olom in Syracuse, New York, on October 11, 2021.1 A few dozen protestors clapped while others nodded in agreement. Several dog walkers edged near the crowd, removing earbuds to better hear the commotion. I listened to the protestors from the steep staircase of the Beaux-Arts Onondaga Courthouse (fig. 1), designed in 1904 by local architect Archimedes Russell. From the elevated staircase, the crowd appeared small against the tall spires of Russell’s Cathedral of the Immaculate Conception, which also stood along Columbus Circle, so named after the statue’s dedication in 1934. Protestors circled the bronze statue of the explorer, raised their red-stained gloves, and chanted, “Take it down!”","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69336381","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}