Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2142893
Patricio del Real
ABSTRACT In 1970, Argentinian industrialists and cultural entrepreneurs sought to harness industrial design to reenergize a stalled economy. In collaboration with the International Council and the Department of Architecture and Design of the Museum of Modern Art, they worked to bring to Buenos Aires more than 400 objects of MoMA’s design collection. Spearheaded by Emilio Ambasz, the exhibition 20th Century Industrial Design would effectively reproduce the New York institution in Buenos Aires. Amid entropic forces dissolving the social cohesion of Argentine society, MoMA sought to champion a revised version of Good Design in a cultural battle for the souls of Latin American consumers.
{"title":"The Road to Buenos Aires Is Paved with Good Design: Worldmaking Fantasies and the Latin American Industrial Design Exhibition","authors":"Patricio del Real","doi":"10.1080/00043079.2023.2142893","DOIUrl":"https://doi.org/10.1080/00043079.2023.2142893","url":null,"abstract":"ABSTRACT In 1970, Argentinian industrialists and cultural entrepreneurs sought to harness industrial design to reenergize a stalled economy. In collaboration with the International Council and the Department of Architecture and Design of the Museum of Modern Art, they worked to bring to Buenos Aires more than 400 objects of MoMA’s design collection. Spearheaded by Emilio Ambasz, the exhibition 20th Century Industrial Design would effectively reproduce the New York institution in Buenos Aires. Amid entropic forces dissolving the social cohesion of Argentine society, MoMA sought to champion a revised version of Good Design in a cultural battle for the souls of Latin American consumers.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"113 - 142"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44842066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2179331
J. Guernsey
{"title":"Image Encounters: Moche Murals and Archaeo Art History, by Lisa Trever","authors":"J. Guernsey","doi":"10.1080/00043079.2023.2179331","DOIUrl":"https://doi.org/10.1080/00043079.2023.2179331","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"154 - 156"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47533502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2179332
H. Tayob
excavated, revered, and remembered these mural paintings. Trever concludes her study by reflecting back on the innovative history of Moche murals that she has assembled. She is ada mant—and I heartily agree with her here— that “archaeology and art history need each other” (182). That said, I don’t know if the terms “archaeo art history” or “archaeoiconology” will take off in either discipline. Those of us who work in the world of preColumbian studies are well aware of colleagues keen to police the bound aries of their disciplines. There are certain col leagues in art history who dismiss the work of other art historians as “too archaeological,” even while these same disparaged art histori ans are toiling in the field alongside certain archaeologists who deride their work as “too art historical,” too “bereft of data.” (I was once introduced by a senior Mesoamerican archae ologist, before delivering a paper at the annual meeting of the Society for American Archaeology, as “blissfully unencumbered by data.”) These tensions are not new. At the “Theory, Method, and The Future of Pre Columbian Art History” session organized by Cecilia Klein for the 100th Annual Conference of the College Art Association in Los Angeles in 2010, Tom Cummins opined that preColumbian art historians should “remember that we are not archaeologists or anthropologists. We are art historians and while we may often use some of the methods of our allied fields, we are not performing the same thing.”3 Trever’s terms are important because they engage with these points of contention and offer a way of countering limitations that are often as semantic as they are meth odological, of turning ideological shortsight edness on its head, of moving past tired, and sometimes barren, debates. Attempting to tease apart the art historical from the archae ological in this study would be folly. It would also miss Trever’s larger point, which is that the story of Moche murals, in all of its glory and complexity, can best be told by adopting an interdisciplinary and multimodal approach. At any rate, this thoughtprovok ing book does far more than coin new terms: it provides a new and exciting roadmap for art historians of premodern societies. Trever’s book is far less concerned with policing dis ciplinary boundaries than it is with showing how the methods of art history can be pro ductively set in dialogue with an array of data and vantage points.
{"title":"Architectural Guide to Sub-Saharan Africa, by Philipp Meuser and Adil Dalbai (eds.)","authors":"H. Tayob","doi":"10.1080/00043079.2023.2179332","DOIUrl":"https://doi.org/10.1080/00043079.2023.2179332","url":null,"abstract":"excavated, revered, and remembered these mural paintings. Trever concludes her study by reflecting back on the innovative history of Moche murals that she has assembled. She is ada mant—and I heartily agree with her here— that “archaeology and art history need each other” (182). That said, I don’t know if the terms “archaeo art history” or “archaeoiconology” will take off in either discipline. Those of us who work in the world of preColumbian studies are well aware of colleagues keen to police the bound aries of their disciplines. There are certain col leagues in art history who dismiss the work of other art historians as “too archaeological,” even while these same disparaged art histori ans are toiling in the field alongside certain archaeologists who deride their work as “too art historical,” too “bereft of data.” (I was once introduced by a senior Mesoamerican archae ologist, before delivering a paper at the annual meeting of the Society for American Archaeology, as “blissfully unencumbered by data.”) These tensions are not new. At the “Theory, Method, and The Future of Pre Columbian Art History” session organized by Cecilia Klein for the 100th Annual Conference of the College Art Association in Los Angeles in 2010, Tom Cummins opined that preColumbian art historians should “remember that we are not archaeologists or anthropologists. We are art historians and while we may often use some of the methods of our allied fields, we are not performing the same thing.”3 Trever’s terms are important because they engage with these points of contention and offer a way of countering limitations that are often as semantic as they are meth odological, of turning ideological shortsight edness on its head, of moving past tired, and sometimes barren, debates. Attempting to tease apart the art historical from the archae ological in this study would be folly. It would also miss Trever’s larger point, which is that the story of Moche murals, in all of its glory and complexity, can best be told by adopting an interdisciplinary and multimodal approach. At any rate, this thoughtprovok ing book does far more than coin new terms: it provides a new and exciting roadmap for art historians of premodern societies. Trever’s book is far less concerned with policing dis ciplinary boundaries than it is with showing how the methods of art history can be pro ductively set in dialogue with an array of data and vantage points.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"156 - 159"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47770863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2142892
Camilla Smith
Abstract This article explores the relationship between sexual science (sexology) and art. It focuses on the Berlin-based physician, Dr. Magnus Hirschfeld (1868–1935), one of its leading proponents, whose complex use of reproductions and references to art historical sources, warrant attention. It examines the role of art in Hirschfeld’s clinical questionnaires, the psychosexual artworks of his patients, as well as considering how his engagement with art related to the work of contemporaries, Sigmund Freud, Hans Prinzhorn, and Aby Warburg. It argues that Hirschfeld’s use of art challenged not only the parameters of science in Germany, but also the positions of power and subjection in histories of sexuality.
{"title":"Uneasy Articulations: Magnus Hirschfeld, Art, and Sexual Science in Early Twentieth-Century Germany","authors":"Camilla Smith","doi":"10.1080/00043079.2023.2142892","DOIUrl":"https://doi.org/10.1080/00043079.2023.2142892","url":null,"abstract":"Abstract This article explores the relationship between sexual science (sexology) and art. It focuses on the Berlin-based physician, Dr. Magnus Hirschfeld (1868–1935), one of its leading proponents, whose complex use of reproductions and references to art historical sources, warrant attention. It examines the role of art in Hirschfeld’s clinical questionnaires, the psychosexual artworks of his patients, as well as considering how his engagement with art related to the work of contemporaries, Sigmund Freud, Hans Prinzhorn, and Aby Warburg. It argues that Hirschfeld’s use of art challenged not only the parameters of science in Germany, but also the positions of power and subjection in histories of sexuality.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"81 - 112"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47898361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2179330
F. Flood
{"title":"The Ka‘ba Orientations: Readings in Islam’s Ancient House, by Simon O’Meara; Islam and the Devotional Object: Seeing Religion in Egypt and Syria, by Richard J. A. McGregor; and Hajj and the Arts of Pilgrimage, by Qaisra M. Khan","authors":"F. Flood","doi":"10.1080/00043079.2023.2179330","DOIUrl":"https://doi.org/10.1080/00043079.2023.2179330","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"143 - 153"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45856998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2142890
D. Jorgensen
Abstract The origins of the Western Desert painting movement lie in the Central Australian settlement of Papunya in 1971 and 1972. The story of these origins has until recently been dominated by the story of Geoffrey Bardon who assisted the early artists while employed as a schoolteacher there. Bardon and subsequent historians have focused on the experience of the Pintupi, who came into Papunya from the west after living as hunter-gatherers. Recently a group of curators and scholars have questioned this emphasis, arguing that it was instead Anmatyerr men from the east and north who made the first Western Desert paintings.
{"title":"New Histories of the Papunya Boards, New Beginnings for the Western Desert Painting Movement","authors":"D. Jorgensen","doi":"10.1080/00043079.2023.2142890","DOIUrl":"https://doi.org/10.1080/00043079.2023.2142890","url":null,"abstract":"Abstract The origins of the Western Desert painting movement lie in the Central Australian settlement of Papunya in 1971 and 1972. The story of these origins has until recently been dominated by the story of Geoffrey Bardon who assisted the early artists while employed as a schoolteacher there. Bardon and subsequent historians have focused on the experience of the Pintupi, who came into Papunya from the west after living as hunter-gatherers. Recently a group of curators and scholars have questioned this emphasis, arguing that it was instead Anmatyerr men from the east and north who made the first Western Desert paintings.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"7 - 35"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45824775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2143086
Emma M. Payne
Abstract This paper traces the idea of the “mechanical” as applied to ancient Greek and Roman sculpture. Use of the term is tracked from the eighteenth century onward and connected with the development of sculpturing machines during this period and their impact on the scholarly interpretation of making ancient stone sculpture. The disparagement of Roman marbles took off just as mechanical copying techniques were becoming better-known and more widely available. This paper explores the roots of this trend, showing how the notions of quality and the mechanical became entwined in a way that persisted well into the twentieth century.
{"title":"Mechanical Technologies and Ancient Sculpture","authors":"Emma M. Payne","doi":"10.1080/00043079.2023.2143086","DOIUrl":"https://doi.org/10.1080/00043079.2023.2143086","url":null,"abstract":"Abstract This paper traces the idea of the “mechanical” as applied to ancient Greek and Roman sculpture. Use of the term is tracked from the eighteenth century onward and connected with the development of sculpturing machines during this period and their impact on the scholarly interpretation of making ancient stone sculpture. The disparagement of Roman marbles took off just as mechanical copying techniques were becoming better-known and more widely available. This paper explores the roots of this trend, showing how the notions of quality and the mechanical became entwined in a way that persisted well into the twentieth century.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"62 - 80"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45531891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2142891
Maggie L. Popkin
Abstract Roman pocketknives carved in the form of gladiators offer vital insight into the ambiguous status of the athletes they represent and how ancient consumers related to them. Gladiator knives objectified male gladiators as a key site for embodying and grappling with Roman conceptions of masculinity, sex, and enslavement. The knives reflect the popularity of gladiatorial combat as a sport in the Roman Empire, but they also commodified gladiators as mascots: utile bodies rather than autonomous individuals. Gladiator knives suggest how art historical analysis can illuminate the role of sports merchandise as an everyday mechanism of power outside institutionalized sporting practices.
{"title":"Roman Gladiator Knives: Objectification, Mascotting, and the Material Culture of Sport in Ancient Rome","authors":"Maggie L. Popkin","doi":"10.1080/00043079.2023.2142891","DOIUrl":"https://doi.org/10.1080/00043079.2023.2142891","url":null,"abstract":"Abstract Roman pocketknives carved in the form of gladiators offer vital insight into the ambiguous status of the athletes they represent and how ancient consumers related to them. Gladiator knives objectified male gladiators as a key site for embodying and grappling with Roman conceptions of masculinity, sex, and enslavement. The knives reflect the popularity of gladiatorial combat as a sport in the Roman Empire, but they also commodified gladiators as mascots: utile bodies rather than autonomous individuals. Gladiator knives suggest how art historical analysis can illuminate the role of sports merchandise as an everyday mechanism of power outside institutionalized sporting practices.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"105 1","pages":"36 - 61"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47218281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/00043079.2023.2179326
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2023.2179326","DOIUrl":"https://doi.org/10.1080/00043079.2023.2179326","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42812620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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