{"title":"In Memoriam: David C. Driskell (1931–2020)","authors":"","doi":"10.1086/710467","DOIUrl":"https://doi.org/10.1086/710467","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710467","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43734417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Joshua C. Taylor (1917–1981)","authors":"Roberta K. Tarbell","doi":"10.1086/710478","DOIUrl":"https://doi.org/10.1086/710478","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"96 - 99"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710478","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46092799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1939 Georgia O’Keeffe traveled to the Territory of Hawai‘i to fulfill a commission for the advertising agency N. W. Ayer & Son. Her expenses were covered in exchange for two paintings to be used in advertisements for the Hawaiian Pineapple Company (now Dole Food Company), an enterprise entangled with the conquest of Hawai‘i. James Dole built his pineapple empire on the dispossession and oppression of Indigenous Hawaiians by U.S. missionaries, businessmen, and politicians. O’Keeffe’s experiences in and paintings of Hawai‘i were structured by colonialism, and Dole advertisements that feature her paintings served to justify and naturalize U.S. conquest. To understand O’Keeffe’s work as participating in the highly racialized project of colonialism is to disrupt dominant histories that, often unwittingly, contribute to the ongoing disenfranchisement of Indigenous peoples. Doing so is an important step toward “decolonizing” the history of American modernism.
{"title":"Georgia O’Keeffe’s Hawai‘i?","authors":"Sascha T. Scott","doi":"10.1086/710471","DOIUrl":"https://doi.org/10.1086/710471","url":null,"abstract":"In 1939 Georgia O’Keeffe traveled to the Territory of Hawai‘i to fulfill a commission for the advertising agency N. W. Ayer & Son. Her expenses were covered in exchange for two paintings to be used in advertisements for the Hawaiian Pineapple Company (now Dole Food Company), an enterprise entangled with the conquest of Hawai‘i. James Dole built his pineapple empire on the dispossession and oppression of Indigenous Hawaiians by U.S. missionaries, businessmen, and politicians. O’Keeffe’s experiences in and paintings of Hawai‘i were structured by colonialism, and Dole advertisements that feature her paintings served to justify and naturalize U.S. conquest. To understand O’Keeffe’s work as participating in the highly racialized project of colonialism is to disrupt dominant histories that, often unwittingly, contribute to the ongoing disenfranchisement of Indigenous peoples. Doing so is an important step toward “decolonizing” the history of American modernism.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"26 - 53"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710471","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45999340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Statement from the Secretary of the Smithsonian","authors":"Lonnie G. Bunch","doi":"10.1086/710469","DOIUrl":"https://doi.org/10.1086/710469","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710469","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43760778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the summer of 1924, as a departure from his concentration on portraits in his Harlem studio, James Van Der Zee served as the official photographer for the Pan-Africanist leader Marcus Garvey and his organization, the Universal Negro Improvement Association (UNIA). Many of the resulting photographs were published in the organization’s popular, internationally distributed newspaper, the Negro World. The newsprint medium in which the UNIA photographs appeared in reproduction, along with their editorial arrangement on the page, animated a different photographic vision from that of the gelatin silver print studio portraits often celebrated as Van Der Zee’s defining contribution to American art. This article illustrates how Van Der Zee’s first mass-produced images and their global circulation expanded the possibilities of the role of photography. During the New Negro era, the transformation of Van Der Zee’s photographs into newsprint became central to their significance.
1924年夏天，詹姆斯·范德泽（James Van Der Zee）不再专注于哈莱姆工作室的肖像画，他担任泛非主义领袖马库斯·加维（Marcus Garvey）及其组织“黑人改善协会”（UNIA）的官方摄影师。许多由此产生的照片发表在该组织广受欢迎的国际发行报纸《黑人世界》上。UNIA照片出现在复制品中的新闻纸媒体，以及页面上的编辑安排，激发了与明胶银版画工作室肖像不同的摄影视觉，这些肖像通常被誉为范德泽对美国艺术的决定性贡献。这篇文章阐述了范德泽的第一批大规模生产的图像及其全球流通如何扩大了摄影作用的可能性。在新黑人时代，将范德泽的照片转变为新闻纸成为其重要意义的核心。
{"title":"Reproducing the New Negro","authors":"Emilie Boone","doi":"10.1086/710470","DOIUrl":"https://doi.org/10.1086/710470","url":null,"abstract":"In the summer of 1924, as a departure from his concentration on portraits in his Harlem studio, James Van Der Zee served as the official photographer for the Pan-Africanist leader Marcus Garvey and his organization, the Universal Negro Improvement Association (UNIA). Many of the resulting photographs were published in the organization’s popular, internationally distributed newspaper, the Negro World. The newsprint medium in which the UNIA photographs appeared in reproduction, along with their editorial arrangement on the page, animated a different photographic vision from that of the gelatin silver print studio portraits often celebrated as Van Der Zee’s defining contribution to American art. This article illustrates how Van Der Zee’s first mass-produced images and their global circulation expanded the possibilities of the role of photography. During the New Negro era, the transformation of Van Der Zee’s photographs into newsprint became central to their significance.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"4 - 25"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710470","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46496433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"William Trost Richards’s “Real Drawing” and the Currency of Watercolor, ca. 1875–85","authors":"Kimia R. Shahi","doi":"10.1086/710473","DOIUrl":"https://doi.org/10.1086/710473","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"54 - 77"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710473","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42641051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1970 Melvin Edwards crisscrossed a gallery in the Whitney Museum of American Art with barbed wire. His work was in reaction to developments in American art, especially Minimalism, but in material that evoked violent racism, raising significant and still potent questions about how abstract art can meaningfully address the politics of race. Recently, Edwards’s long-neglected work has been featured in several major books and high-profile exhibitions. This scholarship, however, has mostly focused on his response to debates on Black Art in the civil rights era, separating his work from the dominant approaches to modern sculpture that Edwards both referenced and reconfigured. Rather than protest the museum from without, he criticized it from within, addressing the art world’s exclusion of African American artists by installing barbed wire and directing the Minimalist emphasis on literal space toward the more specific problem of Black art in the white cube.
1970年，梅尔文·爱德华兹(Melvin Edwards)在惠特尼美国艺术博物馆(Whitney Museum of American Art)的一个画廊里用铁丝网纵横交错。他的作品是对美国艺术发展的反应，尤其是极简主义，但其材料引发了暴力种族主义，提出了关于抽象艺术如何有效地解决种族政治的重要且仍然有力的问题。最近，爱德华兹长期被忽视的作品出现在几本主要书籍和一些备受瞩目的展览中。然而，这项奖学金主要集中在他对民权时代黑人艺术辩论的回应上，将他的作品与爱德华兹引用和重新配置的现代雕塑的主要方法区分开来。他没有从外部抗议博物馆，而是从内部批评它，通过安装铁丝网来解决艺术界对非裔美国艺术家的排斥，并将极简主义对文字空间的强调，引导到更具体的问题上，即白色立方体中的黑人艺术。
{"title":"Melvin Edwards Decides","authors":"Harmon Siegel","doi":"10.1086/709416","DOIUrl":"https://doi.org/10.1086/709416","url":null,"abstract":"In 1970 Melvin Edwards crisscrossed a gallery in the Whitney Museum of American Art with barbed wire. His work was in reaction to developments in American art, especially Minimalism, but in material that evoked violent racism, raising significant and still potent questions about how abstract art can meaningfully address the politics of race. Recently, Edwards’s long-neglected work has been featured in several major books and high-profile exhibitions. This scholarship, however, has mostly focused on his response to debates on Black Art in the civil rights era, separating his work from the dominant approaches to modern sculpture that Edwards both referenced and reconfigured. Rather than protest the museum from without, he criticized it from within, addressing the art world’s exclusion of African American artists by installing barbed wire and directing the Minimalist emphasis on literal space toward the more specific problem of Black art in the white cube.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"86 - 111"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709416","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43920189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Scholars and artists have long been interested in socially engaged artworks, particularly those involving civil disobedience. But what of the opposite approach? What of radical adherence? In the 1970s, California-based artist Lowell Darling realized a series of creative endeavors exploiting uncivil obedience, characterized by a conspicuous and hyperbolic compliance with established laws, rules, and mandates. Following the disallowance of proposed deductions to his 1969 federal income tax return, Darling—by way of projects such as the fictional Fat City School of Finds Arts—deconstructed the so-called hobby loss rule of the U.S. Tax Code by rigorously and ironically fulfilling those factors said to indicate a profit-seeking intent. In 1978, Darling mined the intricacies of electioneering norms and campaign finance by staging an insincere run for governor of California. In these projects, Darling mobilized a kind of legal medium for creative expression, manifesting a mode of art-making that departed from expectations about how art and law might interact and intersect within art practice.
{"title":"Uncivil Obedience","authors":"Monica Steinberg","doi":"10.1086/709417","DOIUrl":"https://doi.org/10.1086/709417","url":null,"abstract":"Scholars and artists have long been interested in socially engaged artworks, particularly those involving civil disobedience. But what of the opposite approach? What of radical adherence? In the 1970s, California-based artist Lowell Darling realized a series of creative endeavors exploiting uncivil obedience, characterized by a conspicuous and hyperbolic compliance with established laws, rules, and mandates. Following the disallowance of proposed deductions to his 1969 federal income tax return, Darling—by way of projects such as the fictional Fat City School of Finds Arts—deconstructed the so-called hobby loss rule of the U.S. Tax Code by rigorously and ironically fulfilling those factors said to indicate a profit-seeking intent. In 1978, Darling mined the intricacies of electioneering norms and campaign finance by staging an insincere run for governor of California. In these projects, Darling mobilized a kind of legal medium for creative expression, manifesting a mode of art-making that departed from expectations about how art and law might interact and intersect within art practice.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"112 - 135"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48411496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Charles C. Eldredge","authors":"E. Broun, David Cateforis, Randall R. Griffey","doi":"10.1086/709418","DOIUrl":"https://doi.org/10.1086/709418","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"136 - 140"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709418","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48739738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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