{"title":"The Work of Undoing","authors":"","doi":"10.24926/24716839.17558","DOIUrl":"https://doi.org/10.24926/24716839.17558","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":"69337456","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}
It is late 2022, and I am standing in one of the Philadelphia Museum of Art (PMA)’s recently reinstalled galleries of early American art (fig. 1). A case directly before me displays the famous Penn Treaty Belt (fig. 2), a splendid stretch of woven wampum that depicts two figures against a field of white consisting of hundreds of precisely worked fragments of whelk shells. Traditionally, the belt is associated with the celebrated 1682 meeting between the Indigenous Lenape, or Delaware, Indians, and William Penn, the proprietor of Pennsylvania, beneath an elm at Shackamaxon near Philadelphia. In fact, however, there is no conclusive proof that such a meeting ever took place, and there is much, too, that we do not know about the belt; its maker, date of manufacture, and early provenance all remain unclear.2 All this uncertainty helps explain the tentative language of the museum placard that accompanies the belt. “Perhaps,” it reads, “the maker of the belt intended the linked hands of the two figures—the taller Lenape and the smaller European—to commemorate a moment of peaceful coexistence.”
{"title":"Re-reading Wampum: The Penn Treaty Belt and Indeterminate Iconographies","authors":"K. Houston","doi":"10.24926/24716839.17266","DOIUrl":"https://doi.org/10.24926/24716839.17266","url":null,"abstract":"It is late 2022, and I am standing in one of the Philadelphia Museum of Art (PMA)’s recently reinstalled galleries of early American art (fig. 1). A case directly before me displays the famous Penn Treaty Belt (fig. 2), a splendid stretch of woven wampum that depicts two figures against a field of white consisting of hundreds of precisely worked fragments of whelk shells. Traditionally, the belt is associated with the celebrated 1682 meeting between the Indigenous Lenape, or Delaware, Indians, and William Penn, the proprietor of Pennsylvania, beneath an elm at Shackamaxon near Philadelphia. In fact, however, there is no conclusive proof that such a meeting ever took place, and there is much, too, that we do not know about the belt; its maker, date of manufacture, and early provenance all remain unclear.2 All this uncertainty helps explain the tentative language of the museum placard that accompanies the belt. “Perhaps,” it reads, “the maker of the belt intended the linked hands of the two figures—the taller Lenape and the smaller European—to commemorate a moment of peaceful coexistence.”","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":"69337716","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":"My Advocacy for the Digital Catalogue Raisonné","authors":"","doi":"10.24926/24716839.17290","DOIUrl":"https://doi.org/10.24926/24716839.17290","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":"69337726","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":"Naming Martin Wong","authors":"","doi":"10.24926/24716839.17334","DOIUrl":"https://doi.org/10.24926/24716839.17334","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":"69337739","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":"A Conversation on the Joaquín Torres-García Catalogue Raisonné","authors":"","doi":"10.24926/24716839.17350","DOIUrl":"https://doi.org/10.24926/24716839.17350","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"24 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337761","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":"Loopholes for Some, Taxes for Everyone Else","authors":"","doi":"10.24926/24716839.17434","DOIUrl":"https://doi.org/10.24926/24716839.17434","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":"69337820","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}
“Why women?” In the introduction to Rare Merit: Women in Photography in Canada, 1840–1940, Colleen Skidmore reflects on this question posed by the late American photography historian Naomi Rosenblum, known in photo history classrooms everywhere for her 1984 survey text, A World History of Photography, now in its fifth edition. This question reminds me of Linda Nochlin’s 1971 essay, “Why Have There Been No Great Women Artists?,” which, like Rosenblum’s historical text, has been republished and revised many times over the last fifty years. Nochlin suggests that instead of falling prey to the question’s trap by offering up examples of “great” women artists from history or by conceiving of a different criterion of greatness for women artists all together, we should instead think about why such a question even requires asking in the first place. Nochlin urges her readers to consider the larger structures of inequity at play within the discipline that have marginalized women from achieving the institutional status of greatness. The question “Why women?” in art studies is not a new one, though Skidmore’s Rare Merit is evidence that it remains pressing.
{"title":"Rare Merit: Women in Photography in Canada, 1840–1940","authors":"Colleen Skidmore","doi":"10.24926/24716839.17497","DOIUrl":"https://doi.org/10.24926/24716839.17497","url":null,"abstract":"“Why women?” In the introduction to Rare Merit: Women in Photography in Canada, 1840–1940, Colleen Skidmore reflects on this question posed by the late American photography historian Naomi Rosenblum, known in photo history classrooms everywhere for her 1984 survey text, A World History of Photography, now in its fifth edition. This question reminds me of Linda Nochlin’s 1971 essay, “Why Have There Been No Great Women Artists?,” which, like Rosenblum’s historical text, has been republished and revised many times over the last fifty years. Nochlin suggests that instead of falling prey to the question’s trap by offering up examples of “great” women artists from history or by conceiving of a different criterion of greatness for women artists all together, we should instead think about why such a question even requires asking in the first place. Nochlin urges her readers to consider the larger structures of inequity at play within the discipline that have marginalized women from achieving the institutional status of greatness. The question “Why women?” in art studies is not a new one, though Skidmore’s Rare Merit is evidence that it remains pressing.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"2 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69337865","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":"Roadside California: Tressa Prisbrey’s Bottle Village, Theme Parks, and Art Tourism in the Golden State","authors":"","doi":"10.24926/24716839.18226","DOIUrl":"https://doi.org/10.24926/24716839.18226","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"115 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":"135758389","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}
Despite the predominant use of “catalogue raisonné” to describe a compendium of a single artist’s lifetime works, the term’s origins in the seventeenth and eighteenth centuries encompassed more variety, from scientific publications to sales and auction catalogues.1 Scholars of printmaking have long recognized the benefit of documenting the output of print publishers, which can encompass many different artists. Although some of the earliest catalogues raisonnés focused on the graphic arts, the first covering a print publisher did not appear until the mid-twentieth century.2 Since the advent of collaborative printmaking studios in the 1960s, the number of these resources has proliferated.3 Searching for “print publisher” in the Print Council of America’s Index to Print Catalogues Raisonnés (IPCR) yields many results.4
{"title":"Highpoint Editions: A History & Catalogue, 2001–2021","authors":"Dennis Michael John","doi":"10.24926/24716839.17138","DOIUrl":"https://doi.org/10.24926/24716839.17138","url":null,"abstract":"Despite the predominant use of “catalogue raisonné” to describe a compendium of a single artist’s lifetime works, the term’s origins in the seventeenth and eighteenth centuries encompassed more variety, from scientific publications to sales and auction catalogues.1 Scholars of printmaking have long recognized the benefit of documenting the output of print publishers, which can encompass many different artists. Although some of the earliest catalogues raisonnés focused on the graphic arts, the first covering a print publisher did not appear until the mid-twentieth century.2 Since the advent of collaborative printmaking studios in the 1960s, the number of these resources has proliferated.3 Searching for “print publisher” in the Print Council of America’s Index to Print Catalogues Raisonnés (IPCR) yields many results.4","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":"69337654","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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