In his groundbreaking novel Roughing It, the American satirist Mark Twain described the silver mines of the Comstock Lode in Virginia City, Nevada, as “clean-picked ribs and bones of some colossal skeleton” and “a coffin that has no end to it.”1 As the center of the silver mining industry in the United States, Virginia City was the product of hundreds of miles of underground tunnels created for the extraction of precious metal. These mines became an international sensation in the late nineteenth century because of the “unlimited” or “inexhaustible” silver they provided not only for currency but also for dining services, jewelry, and photography. A photograph formed from silver, Crushed Timbers (fig. 1) shifts focus away from the sensational ore to tell a darker story about the timber “ribs and bones” that held open the subterranean spaces in the ore’s absence. Ends of squared timbers jut into the frame from above, dominating the upper half of the composition. Strong light from both sides creates extreme shadows, sharpening the angularity of the beams while also abstracting the wooden surfaces. A small pickax is driven into a structural beam in the upper left corner, while a worker’s leg uncomfortably protrudes into the scene at lower right, his body dramatically cut by a vertical support cast entirely in shadow. These compositional elements compress the photographic frame to produce a sense of claustrophobia, almost as if to entomb its contents. And yet, the focus on timber over silver suggests entanglements with the surface above.
{"title":"Framing Silver’s Void in Timothy H. O'Sullivan’s Photographs of the Gould & Curry Mine","authors":"F. 2. Timothy, H. O'Sullivan","doi":"10.24926/24716839.17162","DOIUrl":"https://doi.org/10.24926/24716839.17162","url":null,"abstract":"In his groundbreaking novel Roughing It, the American satirist Mark Twain described the silver mines of the Comstock Lode in Virginia City, Nevada, as “clean-picked ribs and bones of some colossal skeleton” and “a coffin that has no end to it.”1 As the center of the silver mining industry in the United States, Virginia City was the product of hundreds of miles of underground tunnels created for the extraction of precious metal. These mines became an international sensation in the late nineteenth century because of the “unlimited” or “inexhaustible” silver they provided not only for currency but also for dining services, jewelry, and photography. A photograph formed from silver, Crushed Timbers (fig. 1) shifts focus away from the sensational ore to tell a darker story about the timber “ribs and bones” that held open the subterranean spaces in the ore’s absence. Ends of squared timbers jut into the frame from above, dominating the upper half of the composition. Strong light from both sides creates extreme shadows, sharpening the angularity of the beams while also abstracting the wooden surfaces. A small pickax is driven into a structural beam in the upper left corner, while a worker’s leg uncomfortably protrudes into the scene at lower right, his body dramatically cut by a vertical support cast entirely in shadow. These compositional elements compress the photographic frame to produce a sense of claustrophobia, almost as if to entomb its contents. And yet, the focus on timber over silver suggests entanglements with the surface above.","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":"69337668","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}
Raina Lampkins-Fielder, Rebecca Salter Pra, Maxwell L. Jackson, R. Bray
First published in W. E. B. Du Bois’s magazine The Crisis in 1921, Langston Hughes’s poem “The Negro Speaks of Rivers” uses the metaphor of a traveling body of water to narrate the trials and traversals of African peoples from the Euphrates and the Congo to the Mississippi. It is a tender and lyrical poem that manages to be both an individual search for racial identity and a fearsome urging for the collective spirit. Hughes died on May 22, 1967, and his ashes were later interred under Houston Conwill's Rivers (1991)—a cosmogram in the foyer of the Schomburg Center for Research in Black Culture in Harlem, with inscribed lines from his 1921 poem. William Arnett, the late collector, curator, and writer from Atlanta, founded the Souls Grown Deep Foundation (SGDF), so named after a line from Hughes’s poem. Arnett’s mission was to document, preserve, and promote the work of leading African American artists from the US South.1
兰斯顿·休斯的诗《黑人讲河》于1921年首次发表在W. E. B.杜波依斯的杂志《危机》上。这首诗以流动的水体为隐喻，讲述了非洲人民从幼发拉底河、刚果河到密西西比河的磨难和穿越。这是一首温柔而抒情的诗，它既是对种族身份的个人探索，也是对集体精神的可怕敦促。休斯于1967年5月22日去世，他的骨灰后来被埋葬在休斯顿·康威尔的《河流》(1991)下——这是一个宇宙图，放在哈莱姆区肖姆伯格黑人文化研究中心的门厅里，上面刻有他1921年的诗句。来自亚特兰大的已故收藏家、策展人和作家威廉·阿内特(William Arnett)创立了“灵魂成长深层基金会”(SGDF)，以休斯的一首诗中的一句话命名。阿内特的使命是记录、保存和推广来自美国南部的主要非裔美国艺术家的作品
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{"title":"The Nature and Sources of American Art Museum Funding","authors":"","doi":"10.24926/24716839.18312","DOIUrl":"https://doi.org/10.24926/24716839.18312","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"34 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":"135710604","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":"Looking In, Looking Out: Mapping Chinese Exclusion and Imperial Expansion in a San Francisco Photographic Collage","authors":"","doi":"10.24926/24716839.18165","DOIUrl":"https://doi.org/10.24926/24716839.18165","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"141 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":"135711042","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":"Sensing Pollution: Picturing “Bad Air” in Gilded Age New York","authors":"","doi":"10.24926/24716839.18080","DOIUrl":"https://doi.org/10.24926/24716839.18080","url":null,"abstract":"","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"71 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":"135712645","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}
Cite this article: Albert-László Barabási and Louis Shekhtman , “ Who Supports American Art Museums? Introducing a New Dataset and Data Sources about Museum Funding ,” in “ Reflecting on ‘ Toward a More Inclusive Digital Art History ,’” special section, ed. Diana S. Greenwald, Panorama: Journal of the Association of Historians of American Art 9, no. 2 (Fall 2023), https://doi.org/10.24926/24716839.18343.
{"title":"Who Supports American Art Museums? Introducing a New Dataset and Data Sources about Museum Funding","authors":"","doi":"10.24926/24716839.18343","DOIUrl":"https://doi.org/10.24926/24716839.18343","url":null,"abstract":"Cite this article: Albert-László Barabási and Louis Shekhtman , “ Who Supports American Art Museums? Introducing a New Dataset and Data Sources about Museum Funding ,” in “ Reflecting on ‘ Toward a More Inclusive Digital Art History ,’” special section, ed. Diana S. Greenwald, Panorama: Journal of the Association of Historians of American Art 9, no. 2 (Fall 2023), https://doi.org/10.24926/24716839.18343.","PeriodicalId":42739,"journal":{"name":"Panorama","volume":"33 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":"135710579","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}
Catalogue raisonné projects published solely in hard-copy formats represent more traditional—dare I say, market-driven and sustaining—approaches in the field of art history, whereas digital iterations might enable a reimagining of the genre itself. As a form, the catalogue raisonné obviously privileges maker-centered methodologies and, in paper versions, especially affirms positivist approaches by aiming to embody the authoritative, final reference on a given artist. Such print projects often materialize this authority through the inclusion of heavy, oversize tomes, luxurious color illustrations, and multiple volumes. As physically manifested in the outcome, these scholarly enterprises are time consuming, expensive, prestigious, and not intended to be (at least frequently) revisited or redone. Digital-born editions, in contrast, are flexible, living, and adaptive, enabling the incorporation of, or at least connection to, other critical questions beyond production. When digitally conceived, could a catalogue raisonné exist in a larger network of methodological concerns, spaces, and epistemologies that might expand both the stakes and the number of stakeholders involved?
{"title":"Digital-Born Catalogues Raisonnés and Networked Art Histories","authors":"Emily L. Voelker","doi":"10.24926/24716839.17354","DOIUrl":"https://doi.org/10.24926/24716839.17354","url":null,"abstract":"Catalogue raisonné projects published solely in hard-copy formats represent more traditional—dare I say, market-driven and sustaining—approaches in the field of art history, whereas digital iterations might enable a reimagining of the genre itself. As a form, the catalogue raisonné obviously privileges maker-centered methodologies and, in paper versions, especially affirms positivist approaches by aiming to embody the authoritative, final reference on a given artist. Such print projects often materialize this authority through the inclusion of heavy, oversize tomes, luxurious color illustrations, and multiple volumes. As physically manifested in the outcome, these scholarly enterprises are time consuming, expensive, prestigious, and not intended to be (at least frequently) revisited or redone. Digital-born editions, in contrast, are flexible, living, and adaptive, enabling the incorporation of, or at least connection to, other critical questions beyond production. When digitally conceived, could a catalogue raisonné exist in a larger network of methodological concerns, spaces, and epistemologies that might expand both the stakes and the number of stakeholders involved?","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":"69337769","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":"What’s American about American Industrial Design? US Laws","authors":"","doi":"10.24926/24716839.17368","DOIUrl":"https://doi.org/10.24926/24716839.17368","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":"69337784","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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