Nam June Paik (1932–2006) was in many ways a pioneer and prophet of the technological age, hailed as the “godfather of video art.” The Nam June Paik Art Center of the Gyeonggi Cultural Foundation in Yongin-si, South Korea, is an institution that continues to shed new light on the artist’s legacy (figs. 1–2). It held a special exhibition on the ninetieth anniversary of Paik’s birth titled The Consultant: Paik’s Papers, 1968–1979. The show focused on Paik’s time in New York, when he worked as an official and unofficial consultant for the Rockefeller Foundation, rationalizing the support and development of video art over a period of about twenty years, starting in 1967.
{"title":"The Consultant: Paik’s Papers, 1968–1979","authors":"Yoonseo Kim, Jungho Jung","doi":"10.24926/24716839.17465","DOIUrl":"https://doi.org/10.24926/24716839.17465","url":null,"abstract":"Nam June Paik (1932–2006) was in many ways a pioneer and prophet of the technological age, hailed as the “godfather of video art.” The Nam June Paik Art Center of the Gyeonggi Cultural Foundation in Yongin-si, South Korea, is an institution that continues to shed new light on the artist’s legacy (figs. 1–2). It held a special exhibition on the ninetieth anniversary of Paik’s birth titled The Consultant: Paik’s Papers, 1968–1979. The show focused on Paik’s time in New York, when he worked as an official and unofficial consultant for the Rockefeller Foundation, rationalizing the support and development of video art over a period of about twenty years, starting in 1967.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337842","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":"MoMA Goes to Paris in 1938: Building and Politicizing American Art","authors":"","doi":"10.24926/24716839.18439","DOIUrl":"https://doi.org/10.24926/24716839.18439","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710594","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":"Spiritual Moderns: Twentieth-Century American Artists and Religion","authors":"","doi":"10.24926/24716839.18249","DOIUrl":"https://doi.org/10.24926/24716839.18249","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135711057","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":"Holy Rollers: Religion and Modern Mobility in the Art of John Steuart Curry","authors":"","doi":"10.24926/24716839.18179","DOIUrl":"https://doi.org/10.24926/24716839.18179","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712636","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":"In Search of Asian-ness in America: Situating Wing Young Huie’s Photographic Road Trip","authors":"","doi":"10.24926/24716839.18208","DOIUrl":"https://doi.org/10.24926/24716839.18208","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712638","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}
Published in 1978, Copy Art: The First Complete Guide to the Copy Machine opens with the bold statement: “Welcome to the age of Copy Art. Now anyone has the potential to be an artist or designer at the push of a button.”1 Included among the book’s many examples is an illustration of Anita Steckel’s (1930–2012) photocopy work Creation Revisited (1977; fig. 1). In this aggregate image, a nude Steckel soars across Michelangelo’s Creation of Adam, riding on the back of a giant bird. “Revisiting” the biblical creation story that omits the female body, Steckel simultaneously addresses that absence and puts herself in dialogue with art history. Exploring the tension between Steckel’s desire for recognition as an artist and her irreverent approach to art making encapsulated by this work, I argue for a feminist interpretation of both her techniques and choices of media, which together posed subversive challenges to the stereotypes of artistic identity with which she contended. Despite the enthusiasm of Copy Art’s authors, Steckel’s appropriation points to the fact that easy-to-use technology alone was not enough to make anyone an “artist.”
{"title":"Self-Portraits and Photocopies: Anita Steckel’s Feminist Collage","authors":"R. Middleman","doi":"10.24926/24716839.17516","DOIUrl":"https://doi.org/10.24926/24716839.17516","url":null,"abstract":"Published in 1978, Copy Art: The First Complete Guide to the Copy Machine opens with the bold statement: “Welcome to the age of Copy Art. Now anyone has the potential to be an artist or designer at the push of a button.”1 Included among the book’s many examples is an illustration of Anita Steckel’s (1930–2012) photocopy work Creation Revisited (1977; fig. 1). In this aggregate image, a nude Steckel soars across Michelangelo’s Creation of Adam, riding on the back of a giant bird. “Revisiting” the biblical creation story that omits the female body, Steckel simultaneously addresses that absence and puts herself in dialogue with art history. Exploring the tension between Steckel’s desire for recognition as an artist and her irreverent approach to art making encapsulated by this work, I argue for a feminist interpretation of both her techniques and choices of media, which together posed subversive challenges to the stereotypes of artistic identity with which she contended. Despite the enthusiasm of Copy Art’s authors, Steckel’s appropriation points to the fact that easy-to-use technology alone was not enough to make anyone an “artist.”","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337439","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}
Exhibition schedule: Denison Museum, Granville, OH, August 23, 2021–November 19, 2021; Delaware Art Museum, Wilmington, July 9, 2022–September 11, 2022; Mennello Museum of American Art, Orlando, FL, October 28, 2022–February 12, 2023; McClung Museum of Natural History and Culture at the University of Tennessee, Knoxville, August 18– December 2, 2023; Yellowstone Art Museum, Billings, Montana, February 15–June 2, 2024; San Angelo Museum of Fine Arts, Texas, July 11–September 15, 2024; Sun Valley Museum of Art, Ketchum, Idaho, October 2024–January 2025; Iowa State University Museums, Ames January 21–May 4, 2025; Albany Museum of Art, Georgia, July 11–September 15, 2025
{"title":"In Conversation: Will Wilson","authors":"","doi":"10.24926/24716839.17458","DOIUrl":"https://doi.org/10.24926/24716839.17458","url":null,"abstract":"Exhibition schedule: Denison Museum, Granville, OH, August 23, 2021–November 19, 2021; Delaware Art Museum, Wilmington, July 9, 2022–September 11, 2022; Mennello Museum of American Art, Orlando, FL, October 28, 2022–February 12, 2023; McClung Museum of Natural History and Culture at the University of Tennessee, Knoxville, August 18– December 2, 2023; Yellowstone Art Museum, Billings, Montana, February 15–June 2, 2024; San Angelo Museum of Fine Arts, Texas, July 11–September 15, 2024; Sun Valley Museum of Art, Ketchum, Idaho, October 2024–January 2025; Iowa State University Museums, Ames January 21–May 4, 2025; Albany Museum of Art, Georgia, July 11–September 15, 2025","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337837","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}
In the wake of the Civil War, the citizenry, history, and economy of the United States were in flux. The newly reunified country had to integrate into the body politic two radically different populations: white citizens who had rebelled against the state and Black Southerners who had been born into slavery and were now free. At the same time, the nation looked to its Western territories to locate a shared past as well as to islands in the Atlantic and the Pacific that could help expand the country’s economic base and labor force. The era in which these developments took place—the 1860s through the 1940s—witnessed the failed promises of Reconstruction, the rise of Jim Crow laws, adoption of the Chinese Exclusion Act (1882), the Spanish-American War, the American-Philippine War, and the forced annexation of Hawai‘i. The Fruits of Empire: Art, Food, and the Politics of Race in the Era of American Expansion focuses on this pivotal time in the nation’s domestic and international relations. Rather than explicit depictions of these discriminatory policies and exploitative incursions, however, Shana Klein invites us to consider a seemingly negligible and humble subject: images of fruit.
{"title":"The Fruits of Empire: Art, Food, and the Politics of Race in the Age of American Expansion","authors":"Shana Klein","doi":"10.24926/24716839.17484","DOIUrl":"https://doi.org/10.24926/24716839.17484","url":null,"abstract":"In the wake of the Civil War, the citizenry, history, and economy of the United States were in flux. The newly reunified country had to integrate into the body politic two radically different populations: white citizens who had rebelled against the state and Black Southerners who had been born into slavery and were now free. At the same time, the nation looked to its Western territories to locate a shared past as well as to islands in the Atlantic and the Pacific that could help expand the country’s economic base and labor force. The era in which these developments took place—the 1860s through the 1940s—witnessed the failed promises of Reconstruction, the rise of Jim Crow laws, adoption of the Chinese Exclusion Act (1882), the Spanish-American War, the American-Philippine War, and the forced annexation of Hawai‘i. The Fruits of Empire: Art, Food, and the Politics of Race in the Era of American Expansion focuses on this pivotal time in the nation’s domestic and international relations. Rather than explicit depictions of these discriminatory policies and exploitative incursions, however, Shana Klein invites us to consider a seemingly negligible and humble subject: images of fruit.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337854","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":"Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces","authors":"","doi":"10.24926/24716839.17492","DOIUrl":"https://doi.org/10.24926/24716839.17492","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337862","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":"On The Road Reconsidered: Art, Identity, and the Highway","authors":"","doi":"10.24926/24716839.18359","DOIUrl":"https://doi.org/10.24926/24716839.18359","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710598","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}
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