In the summer of 1963, a group of Northern European artists known as the Scandinavian Bauhaus Situationists – or Drakabygget, named after the farm in southern Sweden where the group was based – mounted an exhibition entitled Drakabyggarna, at the Galerie St. Nicolaus in Vejbystrand, Sweden (Fig. 1). Although scant information exists regarding the specific works on display, it consisted largely of expressionist paintings, drawings, and collages.1 Yet, on a warm summer evening in August 1965, the same group of artists paraded through the Strøget, Copenhagen’s high street, accompanied by the Danish folk musicians Caesar and Paul Dissing, who performed as part of a spectacle featuring between 80 and 300 folk singers, as thousands of people danced and sang in the streets around them. Sadly, scant visual records exist documenting the event – referred to as ‘the Situationist life, song and love’, and it came to an end when local authorities arrived to shut down the eruption of public revelry.2
{"title":"Between Empathy and Antagonism: Subjective Imagination in the Situationist Drakabygget","authors":"Wylie Schwartz","doi":"10.1093/oxartj/kcac028","DOIUrl":"https://doi.org/10.1093/oxartj/kcac028","url":null,"abstract":"In the summer of 1963, a group of Northern European artists known as the Scandinavian Bauhaus Situationists – or Drakabygget, named after the farm in southern Sweden where the group was based – mounted an exhibition entitled Drakabyggarna, at the Galerie St. Nicolaus in Vejbystrand, Sweden (Fig. 1). Although scant information exists regarding the specific works on display, it consisted largely of expressionist paintings, drawings, and collages.1 Yet, on a warm summer evening in August 1965, the same group of artists paraded through the Strøget, Copenhagen’s high street, accompanied by the Danish folk musicians Caesar and Paul Dissing, who performed as part of a spectacle featuring between 80 and 300 folk singers, as thousands of people danced and sang in the streets around them. Sadly, scant visual records exist documenting the event – referred to as ‘the Situationist life, song and love’, and it came to an end when local authorities arrived to shut down the eruption of public revelry.2","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135238818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Raw Histories, her 2001 compendium of essays on photography, anthropologist Elizabeth Edwards writes of the layers of historical significance and meaning that colonial photographs bear. She elaborates: During the hours, days and months spent in many places, working with photographs … I have talked to people looking for ‘history’. This history has been both the actuality of evidential inscription, and their own particular ‘realities’. They are looking for their own history or someone else’s history, for the history of their discipline, or confronting the nature of their colonial past, both the colonised and the colonisers; people looking for their ancestors, people making, re-making or even imagining histories.1 Edwards succinctly gestures towards the many stakeholders of the colonial photographs: museum professionals, historians and anthropologists, but equally the descendants of the subjects of these images who find traces of themselves in imperial archives. The passage refers to efforts to prize alternative histories away from dominant narratives of colonial vision and its encyclopedic logic. It also refers to ongoing efforts to bestow personhood, lineage, and afterlife to the sitters of imperial images, the majority of whom were photographed in the context of great asymmetries of power. These alternative practices of reading photographs against the grain as a way of resuscitating Indigenous-centred narratives do not as often make it to the page. In the immense wealth of scholarship that colonial photography has generated, from studies that centre the performance of savagery to the development of exoticist codes, to the efforts of colonial officers to produce encyclopedic albums, literature concerning Indigenous revisions and interventions in the material as a means of challenging colonial epistemologies is less prominent.2 This begs the question: has the dominant literature in this area facilitated enough of a shift in methodologies to prioritise the non-colonial, entangled histories of these photographs? How can archival and art historical method be transformed to accommodate narratives of the photographed?
{"title":"Photographic Power","authors":"Diva Gujral","doi":"10.1093/oxartj/kcad005","DOIUrl":"https://doi.org/10.1093/oxartj/kcad005","url":null,"abstract":"In Raw Histories, her 2001 compendium of essays on photography, anthropologist Elizabeth Edwards writes of the layers of historical significance and meaning that colonial photographs bear. She elaborates: During the hours, days and months spent in many places, working with photographs … I have talked to people looking for ‘history’. This history has been both the actuality of evidential inscription, and their own particular ‘realities’. They are looking for their own history or someone else’s history, for the history of their discipline, or confronting the nature of their colonial past, both the colonised and the colonisers; people looking for their ancestors, people making, re-making or even imagining histories.1 Edwards succinctly gestures towards the many stakeholders of the colonial photographs: museum professionals, historians and anthropologists, but equally the descendants of the subjects of these images who find traces of themselves in imperial archives. The passage refers to efforts to prize alternative histories away from dominant narratives of colonial vision and its encyclopedic logic. It also refers to ongoing efforts to bestow personhood, lineage, and afterlife to the sitters of imperial images, the majority of whom were photographed in the context of great asymmetries of power. These alternative practices of reading photographs against the grain as a way of resuscitating Indigenous-centred narratives do not as often make it to the page. In the immense wealth of scholarship that colonial photography has generated, from studies that centre the performance of savagery to the development of exoticist codes, to the efforts of colonial officers to produce encyclopedic albums, literature concerning Indigenous revisions and interventions in the material as a means of challenging colonial epistemologies is less prominent.2 This begs the question: has the dominant literature in this area facilitated enough of a shift in methodologies to prioritise the non-colonial, entangled histories of these photographs? How can archival and art historical method be transformed to accommodate narratives of the photographed?","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135289217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Journal Article Oro en el río: Placer Mining, Abundance, and Sustainability in Early Modern Art and Thought Get access Sunghoon Lee Sunghoon Lee https://orcid.org/0000-0002-8363-875X Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, kcad002, https://doi.org/10.1093/oxartj/kcad002 Published: 27 April 2023 Article history Received: 01 December 2021 Revision received: 02 December 2022 Editorial decision: 09 January 2023 Accepted: 12 January 2023 Corrected and typeset: 27 April 2023 Published: 27 April 2023
期刊文章Oro en el río:早期现代艺术和思想中的砂矿挖掘，丰富和可持续性获取Sunghoon Lee Sunghoon Lee https://orcid.org/0000-0002-8363-875X搜索作者的其他作品on: Oxford Academic Google Scholar Oxford Art Journal, kcad002, https://doi.org/10.1093/oxartj/kcad002发布日期:2023年4月27日文章历史收稿日期:2021年12月01日修订日期:2022年12月02日编辑决定:2023年1月9日接受:2023年1月12日校正排版:2023年4月27日发布:2023年4月27日
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Journal Article Notes on Contributors Get access Oxford Art Journal, kcad009, https://doi.org/10.1093/oxartj/kcad009 Published: 14 March 2023 Article history Received: 14 February 2023 Corrected and typeset: 14 March 2023 Published: 14 March 2023
{"title":"Notes on Contributors","authors":"","doi":"10.1093/oxartj/kcad009","DOIUrl":"https://doi.org/10.1093/oxartj/kcad009","url":null,"abstract":"Journal Article Notes on Contributors Get access Oxford Art Journal, kcad009, https://doi.org/10.1093/oxartj/kcad009 Published: 14 March 2023 Article history Received: 14 February 2023 Corrected and typeset: 14 March 2023 Published: 14 March 2023","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135074932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Journal Article A Box of Alabaster Get access Jessica Brantley, Stephen Perkinson and Elizabeth C Teviotdale (eds), Reassessing Alabaster Sculpture in Medieval England (Berlin and Boston, MA: De Gruyter, 2020), 109 colour and b&w illns, xi + 296 pp., ISBN 978-1-5015-1812-6, hardback £102.50 Julian Luxford Julian Luxford Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 46, Issue 1, March 2023, Pages 145–149, https://doi.org/10.1093/oxartj/kcad006 Published: 25 February 2023 Article history Received: 28 January 2023 Editorial decision: 03 February 2023 Accepted: 05 February 2023 Corrected and typeset: 25 February 2023 Published: 25 February 2023
期刊文章一盒雪花石膏获取Jessica Brantley, Stephen Perkinson和Elizabeth C Teviotdale(编辑)，重新评估中世纪英格兰的雪花石膏雕塑(柏林和波士顿，MA: De Gruyter, 2020)， 109彩色和b&w illns, xi + 296页，ISBN 978-1-5015- 12-6，精装版£102.50 Julian Luxford牛津学术谷歌学者牛津艺术杂志，第46卷，第1期，2023年3月，145-149页，https://doi.org/10.1093/oxartj/kcad006出版:2023年2月25日文章历史接收:2023年1月28日编辑决定:2023年2月3日接收:2023年2月5日校正和排版:2023年2月25日出版:2023年2月25日
{"title":"A Box of Alabaster","authors":"Julian Luxford","doi":"10.1093/oxartj/kcad006","DOIUrl":"https://doi.org/10.1093/oxartj/kcad006","url":null,"abstract":"Journal Article A Box of Alabaster Get access Jessica Brantley, Stephen Perkinson and Elizabeth C Teviotdale (eds), Reassessing Alabaster Sculpture in Medieval England (Berlin and Boston, MA: De Gruyter, 2020), 109 colour and b&w illns, xi + 296 pp., ISBN 978-1-5015-1812-6, hardback £102.50 Julian Luxford Julian Luxford Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 46, Issue 1, March 2023, Pages 145–149, https://doi.org/10.1093/oxartj/kcad006 Published: 25 February 2023 Article history Received: 28 January 2023 Editorial decision: 03 February 2023 Accepted: 05 February 2023 Corrected and typeset: 25 February 2023 Published: 25 February 2023","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136081691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Automatism and Autonomy in Postwar Rome: Alberto Burri and His Circle","authors":"Katie Larson","doi":"10.1093/oxartj/kcac023","DOIUrl":"https://doi.org/10.1093/oxartj/kcac023","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43716596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Worker as Monster: Images of Class and Radicalism in Operaismo and Autonomia","authors":"Jacopo Galimberti","doi":"10.1093/oxartj/kcac012","DOIUrl":"https://doi.org/10.1093/oxartj/kcac012","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44402410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Crafting ‘Craft’ in Japan","authors":"T. Screech","doi":"10.1093/oxartj/kcac014","DOIUrl":"https://doi.org/10.1093/oxartj/kcac014","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45460608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Salvage Brutalism: Class, Culture and Dispossession in the Victoria and Albert Museum’s Fragment of Robin Hood Gardens","authors":"Nicholas Thoburn","doi":"10.1093/oxartj/kcac007","DOIUrl":"https://doi.org/10.1093/oxartj/kcac007","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45663167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Contemporary Art and Class: Reassessing an Analytical Category","authors":"M. Bull, Jacopo Galimberti","doi":"10.1093/oxartj/kcac013","DOIUrl":"https://doi.org/10.1093/oxartj/kcac013","url":null,"abstract":"","PeriodicalId":44264,"journal":{"name":"OXFORD ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41469484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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