Pub Date : 2022-10-02DOI: 10.1080/00043079.2022.2070397
P. A. Spies-Gans
Abstract In 1971 Linda Nochlin published her quickly canonical “Why Have There Been No Great Women Artists?” (ARTnews 69, no. 9). She offered a powerful narrative, claiming that Western institutional structures and a lack of access to vital educational opportunities had historically prevented women from becoming “great” artists—indeed from even having the potential to achieve greatness. I suggest new visual and textual lenses through which we can update Nochlin’s narrative and reconsider women artists on their own societies’ terms, arguing that by returning to the archive, we can identify greatness and professionalism where they have eluded us before.
{"title":"Why Do We Think There Have Been No Great Women Artists? Revisiting Linda Nochlin and the Archive","authors":"P. A. Spies-Gans","doi":"10.1080/00043079.2022.2070397","DOIUrl":"https://doi.org/10.1080/00043079.2022.2070397","url":null,"abstract":"Abstract In 1971 Linda Nochlin published her quickly canonical “Why Have There Been No Great Women Artists?” (ARTnews 69, no. 9). She offered a powerful narrative, claiming that Western institutional structures and a lack of access to vital educational opportunities had historically prevented women from becoming “great” artists—indeed from even having the potential to achieve greatness. I suggest new visual and textual lenses through which we can update Nochlin’s narrative and reconsider women artists on their own societies’ terms, arguing that by returning to the archive, we can identify greatness and professionalism where they have eluded us before.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"70 - 94"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45170544","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 : 2022-10-02DOI: 10.1080/00043079.2022.2104108
Harper Montgomery
{"title":"Crafting America: Artists and Objects, 1940 to Today, by Glenn Adamson and Jen Padgett; and Greater American Camera: Making Modernism in Mexico, by Monica Bravo","authors":"Harper Montgomery","doi":"10.1080/00043079.2022.2104108","DOIUrl":"https://doi.org/10.1080/00043079.2022.2104108","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"129 - 133"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41989387","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 : 2022-10-02DOI: 10.1080/00043079.2022.2104107
Maura Lucking
8. Gitelman and Folwer argue that paper can “be framed as ephemeral, transient, and cheap, while also construed to represent something durable, rooted, and authoritative at the same time” (12). Lisa Gitelman, Paper Knowledge: Toward a Media History of Documents (Durham, NC: Duke University Press, 2014); Caroline Fowler, The Art of Paper: From the Holy Land to the Americas (New Haven: Yale University Press, 2019). See also Lothar Müller, White Magic: The Age of Paper (Cambridge, UK: Polity, 2014).
{"title":"Savage Mind to Savage Machine: Racial Science and Twentieth-Century Design, by Ginger Nolan","authors":"Maura Lucking","doi":"10.1080/00043079.2022.2104107","DOIUrl":"https://doi.org/10.1080/00043079.2022.2104107","url":null,"abstract":"8. Gitelman and Folwer argue that paper can “be framed as ephemeral, transient, and cheap, while also construed to represent something durable, rooted, and authoritative at the same time” (12). Lisa Gitelman, Paper Knowledge: Toward a Media History of Documents (Durham, NC: Duke University Press, 2014); Caroline Fowler, The Art of Paper: From the Holy Land to the Americas (New Haven: Yale University Press, 2019). See also Lothar Müller, White Magic: The Age of Paper (Cambridge, UK: Polity, 2014).","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"126 - 128"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43799656","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 : 2022-10-02DOI: 10.1080/00043079.2022.2070393
Annick Benavides
Abstract Prints and paintings that celebrate the conversion of Indigenous peoples to Christianity can be perceived as “spiritual mining” in light of an underlying extractive ethos that structured the colonial enterprise. This article discusses seventeenth-century artworks commissioned by the Augustinian Order in Peru, which equated evangelization with the mining of precious minerals. Analysis of the artworks paired with a close historical reading of the book of Job identifies an agenda that objectifies Indigenous souls as treasure in order to normalize gestational events in global capitalism—the extraction of mineral resources from American lands and exploitation of Indigenous labor.
{"title":"Spiritual Mining: Augustinian Images of Extraction in Colonial Peru","authors":"Annick Benavides","doi":"10.1080/00043079.2022.2070393","DOIUrl":"https://doi.org/10.1080/00043079.2022.2070393","url":null,"abstract":"Abstract Prints and paintings that celebrate the conversion of Indigenous peoples to Christianity can be perceived as “spiritual mining” in light of an underlying extractive ethos that structured the colonial enterprise. This article discusses seventeenth-century artworks commissioned by the Augustinian Order in Peru, which equated evangelization with the mining of precious minerals. Analysis of the artworks paired with a close historical reading of the book of Job identifies an agenda that objectifies Indigenous souls as treasure in order to normalize gestational events in global capitalism—the extraction of mineral resources from American lands and exploitation of Indigenous labor.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"46 - 69"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42301238","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 : 2022-10-02DOI: 10.1080/00043079.2022.2070394
B. Fricke, F. Flood
Abstract A conversation took place in 2021 between two art historians whose research focuses on different regions of the premodern world and who have recently collaborated on a project dealing with early histories of globalism. The discussion considers the potential archival value of “flotsam”—that is, extant artifacts and images lacking extensive textual metadata—for (re)constructing transcultural and transregional histories of circulation and reception. It addresses divergences in the nature of the available archival materials and the ethical and methodological challenges this poses. The discussants consider the need to move beyond earlier, largely celebratory narratives of the global to engage the ways in which transregional and transcultural networks intersected with more rooted or regional traditions of art making and material culture.
{"title":"Premodern Globalism in Art History: A Conversation","authors":"B. Fricke, F. Flood","doi":"10.1080/00043079.2022.2070394","DOIUrl":"https://doi.org/10.1080/00043079.2022.2070394","url":null,"abstract":"Abstract A conversation took place in 2021 between two art historians whose research focuses on different regions of the premodern world and who have recently collaborated on a project dealing with early histories of globalism. The discussion considers the potential archival value of “flotsam”—that is, extant artifacts and images lacking extensive textual metadata—for (re)constructing transcultural and transregional histories of circulation and reception. It addresses divergences in the nature of the available archival materials and the ethical and methodological challenges this poses. The discussants consider the need to move beyond earlier, largely celebratory narratives of the global to engage the ways in which transregional and transcultural networks intersected with more rooted or regional traditions of art making and material culture.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"6 - 19"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47534647","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 : 2022-10-02DOI: 10.1080/00043079.2022.2070398
A. Wasserman
Abstract In 1966 Joseph Waller and other members of the Student Nonviolent Coordinating Committee removed George Snow Hill’s Picnicking at Pass-a-Grille (1945) from St. Petersburg, Florida’s, City Hall. For more than two decades, the mural had hung alongside its pendant, Hill’s Fishing on the Pier (1945). Together, the paintings offered a vision of civic progress that denied Black audiences full participation in public life. Yet even in its absence, Picnicking at Pass-a-Grille troubles the present. The Sunshine City’s deferred reckoning with its public artworks and urban projects of racial oppression is a local history with national resonances.
{"title":"And the Mural Came Down: Race, Removal, and Reckoning in the Sunshine City","authors":"A. Wasserman","doi":"10.1080/00043079.2022.2070398","DOIUrl":"https://doi.org/10.1080/00043079.2022.2070398","url":null,"abstract":"Abstract In 1966 Joseph Waller and other members of the Student Nonviolent Coordinating Committee removed George Snow Hill’s Picnicking at Pass-a-Grille (1945) from St. Petersburg, Florida’s, City Hall. For more than two decades, the mural had hung alongside its pendant, Hill’s Fishing on the Pier (1945). Together, the paintings offered a vision of civic progress that denied Black audiences full participation in public life. Yet even in its absence, Picnicking at Pass-a-Grille troubles the present. The Sunshine City’s deferred reckoning with its public artworks and urban projects of racial oppression is a local history with national resonances.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"95 - 119"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41537918","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 : 2022-10-02DOI: 10.1080/00043079.2022.2104102
A. Powell
{"title":"Rubens in Repeat: The Logic of the Copy in Colonial Latin America, by Aaron M. Hyman","authors":"A. Powell","doi":"10.1080/00043079.2022.2104102","DOIUrl":"https://doi.org/10.1080/00043079.2022.2104102","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"120 - 123"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44217290","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 : 2022-10-02DOI: 10.1080/00043079.2022.2104110
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2022.2104110","DOIUrl":"https://doi.org/10.1080/00043079.2022.2104110","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48012015","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：