Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1958289
Catherine R. Dicesare
Abstract This study attends to the historical dimensions of the Mexica (or “Aztec”) festival known as the New Fire Ceremony, a ritual that took place every fifty-two years in pre-Columbian central Mexico. The New Fire Ceremony is most often discussed in terms of cosmic renewal and calendrical cycles. This article seeks to situate its cyclically recurring rites within the web of Mexican history, as represented in early colonial Mexican historical sources, both pictorial and textual. Specifically, it looks to historical genres to examine the cultural memory of the location chosen for the final New Fire Ceremony of 1507, considering the ways in which the Mexica yoked ancient rituals of renewal to contemporary political concerns. That territory had been the site of Mexica military defeat and subjugation during their earlier migration period. Celebrating the New Fire Ceremony here centuries later, at the height of their power, may have functioned as a reversal of that early humiliation. Thus, the Mexica king, as agent of the sun god, embarked on a pilgrimage back through time and space to affirm their contemporary political dominion.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1990730
I. Massé
Abstract Le présent article expose comment les discours sur l’art de la deuxième moitié du XVIIIe siècle édifièrent une conception canonique du pastel. Offrant un cadre conceptuel qui historicise la notion de spécificité des médiums, il détaille les propriétés que les écrits techniques, critiques et encyclopédiques attribuèrent au pastel autour des années 1750–1790. À la fois exploration méthodologique et investigation historique, cette étude propose que la spécificité des médiums conserve une pertinence méthodologique si elle est envisagée sous un angle métaontologique et elle montre comment les qualités particulières conférées au pastel étaient historiquement contingentes. Elle suggère que, par une connexion récurrente aux théories coloristes, le pastel était autrefois pensé comme un médium du portrait moderne et que sa spécificité reposait sur des présupposés teintés par les idéaux artistiques du XVIIIe siècle.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1983712
Aleksander Sedzielarz
Abstract One of South America’s most popular poets, Alfonsina Storni is primarily known for verses of love and passion. During her lifetime, Storni also wrote as a newspaper columnist under the pseudonym Tao Lao. Storni’s association with film has primarily been discussed as part of her friendship with author and cinephile Horacio Quiroga but translations and analyses of Storni’s film-poems, mainly composed in the last decade of her life, show that she was experimenting in a fusion of verse and cinema. Drawing on the proliferation of consumer products bringing film and photography into everyday life in Argentina in the 1920s and 1930s, Storni’s film-poems blend word and image through the photochemical properties of the film medium and the spatial and temporal techniques of motion pictures. While Storni’s biographers have classified some film-poems as falling within the reportage genre of the chronicle (crónica), these multimedia experiments work problems of subjectivity and objectivity intrinsic to the time-based approach of the chronicle through filmic technologies, while also interrogating constructs of gender and colonial power that were deeply embedded in the visual culture of South America in the 1920s and 1930s.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.2002128
Elissa Watters
Abstract In 1912, Wassily Kandinsky (Russian, 1866–1944) published a limited edition of Sounds (Klänge), an illustrated book of poems that applied many of the theories discussed in his publication On the Spiritual in Art (Über das Geistige in der Kunst, 1911). In Sounds, Kandinsky strove to train readers to sensorially perceive images hidden in visual and verbal abstraction. In both word and image, the artist explored various realizations of boundedness, repetition, and concealment with the aim of evoking various effects in readers. Ultimately, according to Kandinsky’s theories, the fluidity between the “seeable” and “unseeable” allowed the “inner sounds” of the book’s words and woodcuts to resonate with readers in moments of perceptual clarity. Published on the brink of World War I, Sounds was released into a world that was about to change drastically. Although it influenced numerous avant-garde artists in the inter- and postwar periods, a newfound pessimism overshadowed Kandinsky’s idealistic aspiration. His utopian belief that abstraction would facilitate the arrival of a “Great Spiritual Epoch” ceded to a view of abstract art as a means of expressing the irrationality and brokenness of things. Today, Sounds is significant because of its influential form and content, its novel multisensorial aims, and its liminal sociohistorical context.
1912年，瓦西里·康定斯基(俄国人，1866-1944)出版了限量版的《声音》(Klänge)，这是一本配有插图的诗集，其中应用了他在《论艺术中的精神》(Über das Geistige In der Kunst, 1911)一书中讨论的许多理论。在《声音》中，康定斯基努力训练读者从感官上感知隐藏在视觉和语言抽象中的图像。在文字和图像上，艺术家探索了有边界、重复和隐藏的各种实现方式，目的是唤起读者的各种效果。最终，根据康定斯基的理论，“可见”和“不可见”之间的流动性使得书中的文字和木刻的“内在声音”在感知清晰的时刻与读者产生共鸣。《声音》出版于第一次世界大战的边缘，在一个即将发生巨变的世界中发行。虽然康定斯基的作品影响了战后和战后时期的许多先锋派艺术家，但一种新的悲观主义遮蔽了康定斯基的理想主义抱负。他的乌托邦式的信念，抽象将促进“伟大的精神时代”的到来，让位于抽象艺术作为一种表达事物的非理性和破碎的手段。今天，《声音》之所以重要，是因为它具有影响力的形式和内容，它新颖的多感官目标，以及它有限的社会历史背景。
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1980352
Steven H. Wander
Abstract The participation of the Jewish historian Flavius Josephus in the imperial triumph of 71 CE at Rome, following the subjugation of Judaea, is a matter of debate; but his account in the Bellum Judaicum along with the relief on the interior south wall of the Arch of Titus document the event for posterity. While Josephus wrote immediately following the Flavian triumph, the completion of the monument only postdates the death of Titus on 13 September 81. After the passing of a decade, it remains uncertain what sources of information were available to the sculptors of the panel of the Spoils from the Temple in Jerusalem. There are striking similarities between features of this relief and passages from the writings of Josephus. As has been remarked in the past, craftsmen at the Arch of Titus may have had access to a copy of the Jewish War with its description of the Flavian Triumph, which Josephus delivered to Titus and Vespasian before the latter’s death in 79. Moreover, there is close agreement between objects depicted on the sculpted frieze and the text of the Jewish Antiquities, which was only to reach the public many years later in 93–94. The appearance of these items in the sculpture would seem to depend on an early version of the Antiquities and for this reason should be attributed to the intervention—in one form or another—of Flavius Josephus himself.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1980712
Arturo Cisneros Poireth
Abstract In 1992, Anne Carson published Short Talks, her first book of poetry. According to her, the book was initially conceived as a collection of drawings. In the process of its being creafted, however, the titles for these drawings gradually expanded until they became forty-five prose poems that ended up displacing the drawings from the final publication. Such displacement not only marked the beginning of a fruitful career, but also foreshadowed an enigmatic relationship which would be constantly addressed in her later work: that between drawing and writing. Even when Carson’s meditations on verbal and visual media are not constrained to the relationship between drawing and poetry, this connection is crucial to understanding her poetics, since, as she has stated many times, she considers her poems more as drawings than as texts. In this article, I embrace this interartistic provocation and, by analyzing poems from her work Men in the Off Hours (2000), I examine in which sense she considers her poems as drawings. The poems are read in the light of her theoretical proposals, especially the ones set out in her academic study, Economy of the Unlost (1999), in which she explores the relationship between visual arts and poetry.
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Pub Date : 2022-04-03DOI: 10.1080/02666286.2021.1925039
Rebecca Kosick
Abstract This article addresses the experimental Detroit-based publisher known as the Alternative Press, which published eccentric works of art and poetry—in the form of bumper stickers and postcards, among other useful objects—between 1969 and 1999. While the Alternative Press is largely unknown to scholars, this article traces its influences on poets, including Victor Hernández Cruz, Robert Creeley, Diane di Prima, Ted Berrigan, and Alice Notley. It suggests that although these poets (and additional Press contributors) are generally grouped according to other geographical or formal tendencies, involvement with the Alternative Press produced an aesthetics of intermedia experimentation that traversed poetic schools, eras, and allegiances in the late twentieth-century United States. It situates the Alternative Press in the context of better-known art-world movements, such as Mail Art and Fluxus, and links the Press’s founders—Ann and Ken Mikolowski—with other influential publishers and artists of the time, notably Dick Higgins. This article introduces substantial new archival research conducted at the University of Michigan Special Collections, and prompts scholars to consider how a Detroit-based publisher can remap the geographical and generic contours of late-twentieth-century US poetry.
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Pub Date : 2022-04-03DOI: 10.1080/02666286.2021.1969828
Tenley Bick
Abstract Recent scholarship on journals produced by postwar Italian avant-gardes has focused on artists’ use of publications to engage with aesthetic constructions of international and global modernisms after Fascist isolation. This scholarship, however, has not yet accounted for the different models of internationalism articulated in these publications, especially in those based outside of Italy’s major cultural centers. This article addresses the little-known arts and culture publication Presenze (1957–1960), established in late 1950s Turin by the multidisciplinary Gruppo d’Arte “l’Arlecchino” (Harlequin Art Group). Despite the historical significance of the group’s members, including artist Michelangelo Pistoletto (1933–), best known for his association with the late 1960s Italian avant-garde Arte Povera, no scholarship has been written on Presenze. Formal and social art-historical analysis of works of art, texts, and editorial layout, with special attention to Pistoletto’s work, is used to examine the model of Italian avant-gardism and internationalism constructed in Presenze. Presenze is found to have constituted a formative testing site for Pistoletto’s practice in the conflicted context of postwar Italian art, and a model of vanguard, localist internationalism for other artists working in 1950s Turin that counters existing ideas of internationalism in postwar Italy as a model of sprovincializzazione (de-provincialization). It is also found that Presenze’s espoused universalist ideology reinscribed Eurocentric models of East and West, foreshadowing later models in postwar Italian art.
近期关于战后意大利先锋派出版的期刊的学术研究集中在艺术家利用出版物参与法西斯孤立后国际和全球现代主义的美学建构。然而，这一学术研究还没有考虑到这些出版物中所阐述的不同的国际主义模式，特别是在意大利主要文化中心以外的出版物中。本文介绍了鲜为人知的艺术和文化出版物Presenze(1957-1960)，该出版物由多学科的Gruppo d 'Arte“l 'Arlecchino”(Harlequin Art Group)于20世纪50年代末在都灵成立。尽管该团体的成员具有重要的历史意义，其中包括艺术家米开朗基罗·皮斯特莱托(1933 -)，他最出名的是与20世纪60年代末意大利前卫贫穷艺术的联系，但没有关于Presenze的奖学金。对艺术作品、文本和编辑布局的正式和社会艺术历史分析，特别关注皮斯特莱托的作品，用于研究意大利前卫主义和国际主义的模型。Presenze被认为是Pistoletto在战后意大利艺术冲突背景下实践的形成性测试场所，也是20世纪50年代在都灵工作的其他艺术家的先锋，地方主义国际主义的典范，反对战后意大利国际主义的现有观念，作为一种模式(去省区化)。我们还发现，Presenze信奉的普遍主义意识形态重新定义了以欧洲为中心的东西方模式，为战后意大利艺术的后期模式埋下了伏笔。
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Pub Date : 2022-04-03DOI: 10.1080/02666286.2021.1951518
Andrew Griebeler
Abstract This article examines how early herbals were produced and illustrated, with a focus on the relationship between the design of the page and that of the production system. It shows that most surviving ancient illustrated herbals were illustrated prior to the copying of the text and thereby privileged the transfer of visual over verbal content. Over the course of the sixth century, however, we find that illustrated herbals were increasingly illustrated after the copying of text. The article suggests that this shift in production may have been a result of the consolidation of book production within monastic contexts. Still, even after the rise of text-first illustration, herbals continue to bear traces of the picture-first system in the close physical relationship between word and image.
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Pub Date : 2022-04-03DOI: 10.1080/02666286.2021.1923316
Nat Reeve
Abstract In 1855, the Pre-Raphaelite artist–poet Elizabeth Siddal was invited to examine John Ruskin’s collection of medieval manuscripts. Two years later, a manuscript—a Book of Hours, the popular late medieval prayer-book—appeared in Siddal’s painting Clerk Saunders. Siddal’s decision to include a Book of Hours in a scene from a medieval ballad encourages us to explore the painting’s creative strategies in new ways. This article examines how Clerk Saunders reinterprets the art of such prayer-books, focusing on Siddal’s reworking of the Annunciation. I shall explore the collision between this visual iconography and the language of the ballads from which the subject is taken, and trace how this literary-inspired pictorial dismemberment unsettles the medievalism of other Pre-Raphaelite works. I will demonstrate how Siddal’s disruptive medievalism is illuminated by queer theory; there have been queer readings of ‘Siddal’ the mythologized figure, but I will show how Siddal takes a queering approach to ballads and iconography in her art and poetry. My article will affirm Siddal’s work with the Book of Hours as an important contribution to Pre-Raphaelite medievalism, which speaks to anxieties about the destabilizing power of nineteenth-century creativity, and the tempestuous relationship between words and images across historical periods.
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