Pub Date : 2022-10-02DOI: 10.1080/00043249.2022.2148975
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Pub Date : 2022-10-02DOI: 10.1080/00043249.2022.2133309
Emilie Boone
ABSTRACT In 1919, the US Marines took a staged photograph of the recently killed insurgent Charlemagne Péralte in order to impede other oppositional fighters during the US Occupation of Haiti. Local viewers interpreted the reproduced and circulated photograph of Péralte crucified to a door as a sign of his martyrdom and strength. While scholars most often turn to Philomé Obin’s circa 1970 painting Cruxification de Charlemagne Péralte pour la Liberté to discuss the generative possibilities of the photograph, I return my attention to the photograph and the earlier context of its making, display, and distribution. Turning back to the visual field of the photograph and its moment allows for distinctive insight. Specifically, my interest lies in what happens when images in Haiti during the US Occupation failed to operate as intended by the Marines. It explores how the contours of this kind of failure become a site for reinterpretation. I privilege examples of how Haitians assert their engagement with the visual by focusing on descriptions, responses, and references to images. Doing so enlarges one’s perception of aspects of the visual that are not built, painted, or made by Haitians but, as I argue, were seen and reinterpreted by some of the country’s early twentieth-century marginalized viewers for their own benefit.
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110757
E. Chambers
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110426
Daniel R. Quiles
Arlene Dávila’s Latinx Art: Artists, Markets, and Politics concludes with a “Noncomprehensive List of Artists Everyone Should Know,” which includes some 150 contemporary Latinx practitioners (177–88). Elizabeth Ferrer’s Latinx Photography in the United States: A Visual History is structured like a list throughout, with loosely chronological chapters that proceed photographer by photographer (many of whom are also artists) like an exhibition catalog. The books share eighteen names in common, as well as the same presupposition that many are unfamiliar to the reader. As Ferrer notes, “I have striven to include as many historic photographers as possible to help fill gaps in our understanding of the scope of contributions made by Latinx individuals to the medium” (xii). For both Ferrer and Dávila, Latinx art and photography are challenged not merely by restricted access—to museums, art markets, canons, and even “Latin American art” itself—but by amnesia as well. Ferrer provides an accessible introductory resource to Latinx history and culture as refracted through a particular medium and its proponents. Dávila has crafted something else entirely; Latinx Art is only nominally art history. An anthropologist by training, her research is premised on “interviews with artists, curators, gallerists, and other stakeholders of the contemporary art circuit” whose perspectives are interwoven with Dávila’s own excoriation of the pre-COVID-19 art world for its exclusion and “whitewashing” of Latinx artists (2). The subfield of Latinx art history thus arrives with its own debates in full swing. Both books necessarily reflect on terminology and define the vexed ethnoracial category “Latinx,” which first trended on Google in 2004 as a nonbinary iteration of “Latina” or “Latino.”1 The latter were originally short for latinoamericana/o (Latin American), but Ferrer, following the term’s conventional usage, defines “a Latinx person as one who resides in the United States and whose family roots can be traced to a Spanish-speaking country in the Americas”(ix). She does so to eschew,
阿琳·达维拉（Arlene Dávila）的《拉丁裔艺术：艺术家、市场和政治》（Latinx Art：Artists，Markets，and Politics）以一份“每个人都应该知道的非综合艺术家名单”结尾，其中包括约150名当代拉丁裔从业者（177-88）。伊丽莎白·费雷尔（Elizabeth Ferrer）的《美国拉丁裔摄影：视觉史》（Latix Photography in the United States:A Visual History。这两本书共有十八个名字，还有一个读者不熟悉的前提。正如费雷尔所指出的，“我努力让尽可能多的历史摄影师参与进来，以帮助填补我们对拉丁裔个人对媒体贡献范围的理解空白”（xii）。对于费雷尔和达维拉来说，拉丁裔艺术和摄影不仅受到博物馆、艺术市场、经典，甚至“拉丁美洲艺术”本身的限制，还受到健忘症的挑战。费雷尔为通过特定媒介及其支持者折射的拉丁裔历史和文化提供了一个可访问的介绍资源。达维拉完全另辟蹊径；拉丁裔艺术只是名义上的艺术史。作为一名受过训练的人类学家，她的研究以“采访艺术家、策展人、画廊老板和当代艺术界的其他利益相关者”为前提，这些人的观点与达维拉自己对新冠疫情前艺术界排斥和“洗白”拉丁裔艺术家的谴责交织在一起（2）。因此，拉丁裔艺术史的子领域也随之展开了激烈的辩论。这两本书都必须反思术语，并定义了棘手的民族种族类别“拉丁裔”，该类别于2004年首次在谷歌上流行，是“Latina”或“Latino”的非二进制迭代。1后者最初是latinoamericana/o（拉丁美洲）的缩写，但Ferrer遵循该术语的传统用法，将“拉丁裔人定义为居住在美国，其家庭根源可以追溯到美洲的西班牙语国家”（ix）。她这样做是为了回避，
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110445
Helena Shaskevich
Abstract This essay examines Joan Logue’s newly rediscovered and digitized video, Words, 1-5 (1971-4). While providing a close formal reading of Logue’s piece, this note resituates the work within the context of video art in the 1970s, arguing that the tape illustrates Logue’s nascent interests in marrying video’s capacity for portraiture with commercial pop culture, and marries those interests with her own emerging feminist consciousness. As such, the tape provides new context for an early experimental period of Logue’s oeuvre, before she would merge the video’s capacity for intimacy and mass-media broadcast in some of her most famous works in the 1980s. Finally, this essay argues that Logue’s Words, 1-5 serves as a reminder of the need to preserve the significant, yet often neglected contributions of female artists to the early histories of video art which are increasingly on the verge of disappearing as analog tapes are lost or disintegrate.
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110765
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110425
F. Lara
activism, [and] climate sensing techniques” (8). This expansion reverberates with other recent scholarship such as Heather Houser’s Infowhelm: Environmental Art and Literature in an Age of Data (Columbia University Press, 2020), which frames data visualizations and climate predictions as matters of aesthetics and speculation—that is, as humanistic, not just technoscientific, endeavors. Further, contributors to the Companion insist that art and visual cultures have a unique role to play in an era of climate crisis. For one thing, while “nobody can feel average temperatures,” Schneider argues that art “can make this and other ways of perceiving the climate crisis possible” (264, emphasis in original)—given its general capacities to “sensitize[e] us, or mak[e] us more sensitive, to the world around us” (149). Sara Mameni agrees, calling the “aesthetic act” “a configuration of experience that can create new modes of sensory perception, induce new forms of political subjectivity, and anticipate futures, that is, build other possible worlds” (93). Many others echo the latter part of that sentiment; the editors offer the premise that “the world-altering emergency of climate breakdown demands the emergence of new imaginaries, social formations, and societal organizing principles” (385, emphasis in original) and Issa concludes that “art and visual culture are where questions of futurity are best imagined and explored” (102). Beyond art’s capacities to sense, sensitize, and speculate, this collection articulates more specific functions. “I want to build the capacity to handle complex environmental, internal, and spiritual situations,” artist Simpson declares to Horton—to make humans feel “empower[ed]” and capable of “adapt[ing]” (317). Kanouse reflects on her performance art practice as “a process of trying one thing, and then another, evaluating the result, and then trying again”; such “practices of experimentation, iteration, and improvisation,” she asserts, are “necessary to move through the impasse of climate change” (162). Such takes are optimistic, even instrumentalist. But at least one contributor is concerned about the opposite: that much contemporary art and visual culture in the era of climate crisis entails the proverbial fiddling while the world (literally) burns. “Why make an installation about refugees being stuck at the border when you could design tools to cut through the fences?” John Jordan demands in another memorable, controversy-stoking chapter (390). I therefore wondered at first why he bothered to write this essay instead of designing such tools, but the answer soon becomes clear. Living in an autonomous “Zone to Defend” outside Nantes, France, which has been occupied for several years by activists opposing the construction of a new airport, Jordan sees himself as answering Michel Foucault’s call for an “art of living”: “When you no longer outsource your problems and needs, everyday life goes from being unthinking automatic behavior,
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110756
Meme Omogbai
I am honored and delighted to be taking up the directorship of the Program in Medieval Studies in the new year. I want to thank Anne D. Hedeman for her dynamism and collegial-ity as director during the last three years. The programs of events for each year now archived on our website (www.medieval.uiuc.edu) reflect the richly varied interests of our members and a stream of distinguished visitors from around the world. Anne D. was key to the establishment of the program. It was she who drew together a bunch of us to compete for one of the seven exchanges that Illinois approved with France's Centre National de la Recherche Scientifique in 1998. (The Program in Medieval Studies was the only humanities group to be funded. Our exchange was so successful that it was renewed for two years beyond the initial three.) This collaboration inspired us to work together to apply for official recognition as a Program with a graduate certificate. Then Stephen Jaeger came to be our first director in 2001, and in his wake new colleagues joined us in Classics, History, English, and Architecture. Anne D. has sustained the momentum generated six years ago. I owe a great debt to Charlie Wright for generously agreeing to act as director during the fall semester. He has accomplished an amazing amount for the program, organizing a high profile international conference for next fall on " Translating the Middle Ages, " drafting bylaws, initiating a proposal for an undergraduate minor in medieval studies—all of this besides teaching two courses and editing JEGP! Going forward, we hope to develop our undergraduate course offerings, build links with other programs on campus, strengthen exchange programs, and further increase our visibility on the national and international scenes. I look forward to continuing the work that Anne D. and Charlie have done.
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110438
L. Wainwright
Abstract In the autumn of 2006, Soft Box Studios, a small, privately run art gallery in Port of Spain, Trinidad, staged the exhibition A Suitable Distance, comprising twenty-one paintings by artists who were at that time living on the island yet who hailed from elsewhere. Curated by Andy Jacob, a teacher and former deputy curator of Trinidad and Tobago’s National Museum and Art Gallery, the five featured artists were Kofi Kayiga (b. 1943) and Roberta Stoddart (b. 1963)—who have a Jamaican background—alongside Chris Ofili (b. 1968), Rex Dixon (b. 1939), and Peter Doig (b. 1959), who are originally from the United Kingdom. Revisiting the approach taken to curating this group of foreign artists involves looking at the conditions of production and reception for this art and, more generally, for art in the Caribbean, during the first decade of the millennium. Reflecting on this period from a present-day perspective allows A Suitable Distance to be historicized as a millennial approach to curatorial projects that engage with both the global art world and the Caribbean’s local art world, and allows us to assess the geographical and metaphorical distances between them as well as their intersections. The conclusions encourage the continued foregrounding of critical frameworks of analysis and the problematizing of the terms of visibility and success that surround contemporary art and art communities of the Caribbean.
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Pub Date : 2022-07-03DOI: 10.1080/00043249.2022.2110444
M. MacKisack, S. Aldworth, F. Macpherson, J. Onians, C. Winlove, A. Zeman
Abstract The experience of visual mental imagery—seeing in the mind’s eye—varies widely between individuals, but perhaps because we tend to assume our own way of thinking to be everyone’s, how this crucial variation impacts art practice, and indeed art history, has barely been addressed. We seek to correct this omission by pursuing the implications of how artists with aphantasia (the absence of mental imagery) and hyperphantasia (imagery of extreme vividness) describe their working processes. The findings remind us of the need to challenge normative, universalizing models of art making and art maker.
{"title":"Plural Imagination: Diversity in Mind and Making","authors":"M. MacKisack, S. Aldworth, F. Macpherson, J. Onians, C. Winlove, A. Zeman","doi":"10.1080/00043249.2022.2110444","DOIUrl":"https://doi.org/10.1080/00043249.2022.2110444","url":null,"abstract":"Abstract The experience of visual mental imagery—seeing in the mind’s eye—varies widely between individuals, but perhaps because we tend to assume our own way of thinking to be everyone’s, how this crucial variation impacts art practice, and indeed art history, has barely been addressed. We seek to correct this omission by pursuing the implications of how artists with aphantasia (the absence of mental imagery) and hyperphantasia (imagery of extreme vividness) describe their working processes. The findings remind us of the need to challenge normative, universalizing models of art making and art maker.","PeriodicalId":45681,"journal":{"name":"ART JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45273438","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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