Pub Date : 2022-04-15DOI: 10.1080/00043079.2022.2066929
A. Payne
and vision. This, however, is a minor point of criticism. Dinkar’s nuanced and thoughtful account of a colonial artist bound “to the Enlightenment project not out of choice, but circumscribed by its conditions of possibility and imagination because of the history of empire” (29) is both provocative and compelling. As such, it is an invitation to rethink the heroic romance of revolutionary struggle often bestowed upon colonial artists such as Varma in art histories written from a postcolonial and decolonial perspective.
{"title":"Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment, by Fabio Barry","authors":"A. Payne","doi":"10.1080/00043079.2022.2066929","DOIUrl":"https://doi.org/10.1080/00043079.2022.2066929","url":null,"abstract":"and vision. This, however, is a minor point of criticism. Dinkar’s nuanced and thoughtful account of a colonial artist bound “to the Enlightenment project not out of choice, but circumscribed by its conditions of possibility and imagination because of the history of empire” (29) is both provocative and compelling. As such, it is an invitation to rethink the heroic romance of revolutionary struggle often bestowed upon colonial artists such as Varma in art histories written from a postcolonial and decolonial perspective.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"160 - 163"},"PeriodicalIF":0.7,"publicationDate":"2022-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"58673743","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 : 2022-04-15DOI: 10.1080/00043079.2022.2066928
Atreyee Gupta
{"title":"Empires of Light: Vision, Visibility and Power in Colonial India, by Niharika Dinkar","authors":"Atreyee Gupta","doi":"10.1080/00043079.2022.2066928","DOIUrl":"https://doi.org/10.1080/00043079.2022.2066928","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"158 - 160"},"PeriodicalIF":0.7,"publicationDate":"2022-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48140017","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 : 2022-04-03DOI: 10.1080/00043079.2022.2031746
L. Trever
Rarely do two books arrive in such quick succession that seem so meant to be read together as Andrew Finegold’s Vital Voids: Cavities and Holes in Mesoamerican Material Culture and Mary Weismantel’s Playing with Things: Engaging the Moche Sex Pots. The authors—one an art historian, the other an anthropologist—address apparently unrelated subjects. Finegold centers his study of the “ontology of holes” (VV, 1–6), openings, and enclosures on a painted Maya dish from seventhto eighth-century Guatemala. He situates this core case study more broadly within Mesoamerica, a culture area defined in the twentieth century that encompassed most of what is now Mexico, Guatemala, Belize, and parts of El Salvador and Honduras. Weismantel’s book on the roughly coeval Moche “sex pots” is set on the north coast of what is now Peru, with comparative perspectives from other parts of the Americas and beyond, as she theorizes an “archaeology of sex” (PwT, 12) and its many entanglements. Ancient Maya and Moche communities do not seem to have been in direct contact with each other, although they would have been connected—perhaps unknowingly—through indirect relays of materials, cultigens, and ideas that circulated between the Americas north, central, and south.1 And yet, beyond their provocative titles and their shared attention to ceramic vessels as primary subjects for inquiry, these books have much in common. Vital Voids and Playing with Things wind dynamically around shared axes of interdisciplinary method—across art history, anthropology, and archaeology—while never fully converging. The two books oscillate in harmonious ways as they approach, depart from, and then approach again, shared interests and commitments to their objects. Maya art has long been recognized in art history for its sophisticated works, elaborate aesthetics, textual traditions, and complex cosmographies. Despite its similar age, parallel emphasis on anthropomorphic figuration, and what may have been comparable structures of societal stratification and internal political rivalries, Moche art has had a different academic fate: more often a subject of anthropology than art history. Maya artists were often self-reflexive—at times signing their works or depicting courtly scenes of artistry in action. Moche artists did not use text and only very rarely depicted acts of artistic creation. Violence and sacrifice—both depicted and real—were present in both traditions. But it is in Moche scholarship that there remains an “overemphasis” on violence and blood sacrifice that “plays into racist stereotypes about bloodthirsty savages” (PwT, 163–64).2 Vital Voids and Playing with Things both take the reader beyond these respective expectations to query the broader philosophies of Indigenous life and ecology enacted and revealed by these objects. Each is an important contribution to ancient American art history and visual studies, but they are even stronger in tandem as multimodal, empathic, and generatively “sl
{"title":"Vital Voids: Cavities and Holes in Mesoamerican Material Culture, by Andrew Finegold; and Playing with Things: Engaging the Moche Sex Pots, by Mary Weismantel","authors":"L. Trever","doi":"10.1080/00043079.2022.2031746","DOIUrl":"https://doi.org/10.1080/00043079.2022.2031746","url":null,"abstract":"Rarely do two books arrive in such quick succession that seem so meant to be read together as Andrew Finegold’s Vital Voids: Cavities and Holes in Mesoamerican Material Culture and Mary Weismantel’s Playing with Things: Engaging the Moche Sex Pots. The authors—one an art historian, the other an anthropologist—address apparently unrelated subjects. Finegold centers his study of the “ontology of holes” (VV, 1–6), openings, and enclosures on a painted Maya dish from seventhto eighth-century Guatemala. He situates this core case study more broadly within Mesoamerica, a culture area defined in the twentieth century that encompassed most of what is now Mexico, Guatemala, Belize, and parts of El Salvador and Honduras. Weismantel’s book on the roughly coeval Moche “sex pots” is set on the north coast of what is now Peru, with comparative perspectives from other parts of the Americas and beyond, as she theorizes an “archaeology of sex” (PwT, 12) and its many entanglements. Ancient Maya and Moche communities do not seem to have been in direct contact with each other, although they would have been connected—perhaps unknowingly—through indirect relays of materials, cultigens, and ideas that circulated between the Americas north, central, and south.1 And yet, beyond their provocative titles and their shared attention to ceramic vessels as primary subjects for inquiry, these books have much in common. Vital Voids and Playing with Things wind dynamically around shared axes of interdisciplinary method—across art history, anthropology, and archaeology—while never fully converging. The two books oscillate in harmonious ways as they approach, depart from, and then approach again, shared interests and commitments to their objects. Maya art has long been recognized in art history for its sophisticated works, elaborate aesthetics, textual traditions, and complex cosmographies. Despite its similar age, parallel emphasis on anthropomorphic figuration, and what may have been comparable structures of societal stratification and internal political rivalries, Moche art has had a different academic fate: more often a subject of anthropology than art history. Maya artists were often self-reflexive—at times signing their works or depicting courtly scenes of artistry in action. Moche artists did not use text and only very rarely depicted acts of artistic creation. Violence and sacrifice—both depicted and real—were present in both traditions. But it is in Moche scholarship that there remains an “overemphasis” on violence and blood sacrifice that “plays into racist stereotypes about bloodthirsty savages” (PwT, 163–64).2 Vital Voids and Playing with Things both take the reader beyond these respective expectations to query the broader philosophies of Indigenous life and ecology enacted and revealed by these objects. Each is an important contribution to ancient American art history and visual studies, but they are even stronger in tandem as multimodal, empathic, and generatively “sl","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"142 - 148"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42645702","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 : 2022-04-03DOI: 10.1080/00043079.2022.2000268
Hugo Shakeshaft
Abstract Did beauty matter for art in ancient Greece? Detailed analysis of two famous votive statues—the dedications of Mantiklos (ca. 700–675 BCE) and Nikandre (ca. 660–630 BCE)—spotlights beauty’s significance in early Greek art. Examining contemporary Greek texts alongside these statues reveals that notions of beauty were instrumental to both the objects’ manufacture and their social and religious purposes. The ambiguity over whether these statues represent gods or humans—like the many votive kouroi and korai made in Archaic Greece—is integral to their meaning and function as votives: the aspiration to solidarity between human and divine.
{"title":"Beauty, Gods, and Early Greek Art: The Dedications of Mantiklos and Nikandre Revisited","authors":"Hugo Shakeshaft","doi":"10.1080/00043079.2022.2000268","DOIUrl":"https://doi.org/10.1080/00043079.2022.2000268","url":null,"abstract":"Abstract Did beauty matter for art in ancient Greece? Detailed analysis of two famous votive statues—the dedications of Mantiklos (ca. 700–675 BCE) and Nikandre (ca. 660–630 BCE)—spotlights beauty’s significance in early Greek art. Examining contemporary Greek texts alongside these statues reveals that notions of beauty were instrumental to both the objects’ manufacture and their social and religious purposes. The ambiguity over whether these statues represent gods or humans—like the many votive kouroi and korai made in Archaic Greece—is integral to their meaning and function as votives: the aspiration to solidarity between human and divine.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"20 - 46"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49066629","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 : 2022-04-03DOI: 10.1080/00043079.2022.2031749
J. Van Horn
17. Jorge Chiguala et al., “Rasgos arquitectónicos formales que definen y delimitan un bloque arquitectónico: El caso de los Conjuntos Arquitectónicos 30 y 27,” in Investigaciones en la Huaca de la Luna 2004, ed. Santiago Uceda, Elías Mujica, and Ricardo Morales (Trujillo, Peru: Facultad de Ciencias Sociales de la Universidad Nacional de Trujillo; Patronato Huacas del Valle de Moche, 2013), 182, fig. 44.
17. Jorge Chiguala et al .,“建筑正式确定和划分一块建筑特点:建筑30 - 27集的案例,“在研究月球Huaca 2004、编圣地亚哥Uceda elias Mujica Ricardo Morales(特鲁希略,Peru:国立大学社会科学学院特鲁希略;Huacas del Valle de Moche, 2013)， 182，图44。
{"title":"Black Bodies, White Gold: Art, Cotton, and Commerce in the Atlantic World, by Anna Arabindan-Kesson","authors":"J. Van Horn","doi":"10.1080/00043079.2022.2031749","DOIUrl":"https://doi.org/10.1080/00043079.2022.2031749","url":null,"abstract":"17. Jorge Chiguala et al., “Rasgos arquitectónicos formales que definen y delimitan un bloque arquitectónico: El caso de los Conjuntos Arquitectónicos 30 y 27,” in Investigaciones en la Huaca de la Luna 2004, ed. Santiago Uceda, Elías Mujica, and Ricardo Morales (Trujillo, Peru: Facultad de Ciencias Sociales de la Universidad Nacional de Trujillo; Patronato Huacas del Valle de Moche, 2013), 182, fig. 44.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"148 - 151"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42702284","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 : 2022-04-03DOI: 10.1080/00043079.2022.2000271
Meredith M. Cohen
Te study of what can be seen defnes and delimits the feld of art history. In the nineteenth century, visual analysis distinguished art history as a discipline independent from other felds in the humanities. As the feld grew, methodologies such as connoisseurship and iconography were elaborated to elicit greater understanding of an artwork through formal analyses of style and subject matter. Approaches from psychoanalysis to poststructuralism have subsequently ofered insight to the meanings and signifcance of an artwork while allowing for critical interpretations of visual culture. In the twenty-frst century, digital visualization promises to further enrich and extend art history. “Visualization” is an umbrella term for the myriad ways digital technology can organize and represent diferent types of information. 1 It permits, as Victoria Szabo writes, “retrospective as well as prospective analysis, exploration of counter-factuals and hypotheses
{"title":"Visualizing the Unknown in the Digital Era of Art History","authors":"Meredith M. Cohen","doi":"10.1080/00043079.2022.2000271","DOIUrl":"https://doi.org/10.1080/00043079.2022.2000271","url":null,"abstract":"Te study of what can be seen defnes and delimits the feld of art history. In the nineteenth century, visual analysis distinguished art history as a discipline independent from other felds in the humanities. As the feld grew, methodologies such as connoisseurship and iconography were elaborated to elicit greater understanding of an artwork through formal analyses of style and subject matter. Approaches from psychoanalysis to poststructuralism have subsequently ofered insight to the meanings and signifcance of an artwork while allowing for critical interpretations of visual culture. In the twenty-frst century, digital visualization promises to further enrich and extend art history. “Visualization” is an umbrella term for the myriad ways digital technology can organize and represent diferent types of information. 1 It permits, as Victoria Szabo writes, “retrospective as well as prospective analysis, exploration of counter-factuals and hypotheses","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"6 - 19"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43025734","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 : 2022-04-03DOI: 10.1080/00043079.2022.2000260
Jennifer Y. Chuong
Abstract The frontispiece of Phillis Wheatley’s Poems on Various Subjects, Religious and Moral (1773), added to increase the book’s humanitarian and commercial appeal, is an important “first” of Black portraiture. Yet surprisingly little attention has been paid to the engraved representation of the poet’s dark skin and its contribution to her complicated reception. While engraving’s abstractions had long been used to commemorate idealized (white) individuals, an Enlightenment understanding of corporeal skin as a changeable surface meant that engraving’s linear syntax also lent itself to derogatory characterizations of Black skin as an “immoveable veil” that masks the expressions of Black subjects.
{"title":"Engraving’s “Immoveable Veil”: Phillis Wheatley’s Portrait and the Politics of Technique","authors":"Jennifer Y. Chuong","doi":"10.1080/00043079.2022.2000260","DOIUrl":"https://doi.org/10.1080/00043079.2022.2000260","url":null,"abstract":"Abstract The frontispiece of Phillis Wheatley’s Poems on Various Subjects, Religious and Moral (1773), added to increase the book’s humanitarian and commercial appeal, is an important “first” of Black portraiture. Yet surprisingly little attention has been paid to the engraved representation of the poet’s dark skin and its contribution to her complicated reception. While engraving’s abstractions had long been used to commemorate idealized (white) individuals, an Enlightenment understanding of corporeal skin as a changeable surface meant that engraving’s linear syntax also lent itself to derogatory characterizations of Black skin as an “immoveable veil” that masks the expressions of Black subjects.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"63 - 88"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47173283","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 : 2022-04-03DOI: 10.1080/00043079.2022.2000269
Charlotte Horlyck
Abstract The moon jar is a large-size spherical porcelain vessel, first manufactured in eighteenth-century Korea. Originally used as a storage jar, the moon jar is now a frequently used symbol of Korean history and culture, appearing in various contexts within and outside Korea. I explore how it became a primary icon of Korean identity and analyze the converging factors that have shaped its significance and meanings. The continuous fascination with moon jars mirrors the ongoing search for a definition of Korean national identity, which began when Korea was occupied by Japan in the early twentieth century.
{"title":"The Moon Jar: The Making of a Korean Icon","authors":"Charlotte Horlyck","doi":"10.1080/00043079.2022.2000269","DOIUrl":"https://doi.org/10.1080/00043079.2022.2000269","url":null,"abstract":"Abstract The moon jar is a large-size spherical porcelain vessel, first manufactured in eighteenth-century Korea. Originally used as a storage jar, the moon jar is now a frequently used symbol of Korean history and culture, appearing in various contexts within and outside Korea. I explore how it became a primary icon of Korean identity and analyze the converging factors that have shaped its significance and meanings. The continuous fascination with moon jars mirrors the ongoing search for a definition of Korean national identity, which began when Korea was occupied by Japan in the early twentieth century.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"118 - 141"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42887629","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 : 2022-04-03DOI: 10.1080/00043079.2022.2000256
Angélica J. Afanador-Pujol
Abstract The manuscript known as the Relación de Michoacán (1539–41) was commissioned by Spanish viceroy Antonio de Mendoza (1490–1552) and produced in colonial Mexico by an anonymous friar and Indigenous artists and informants. While in many of the manuscript’s paintings, the pre-Columbian rulers (the Uanacaze), are often fasting, one of the paintings—a rare depiction by an Indigenous artist—shows their enemies feasting on human flesh. An analysis of these images reveals how the Indigenous artists transformed European and pre-Columbian models of cannibalism and ritual consumption to represent local concepts connecting food, reason, and conquest while furthering the interests of the Indigenous leaders under colonial rule.
这份手稿名为Relación de Michoacán(1539-41)，由西班牙总督门多萨(Antonio de Mendoza, 1490-1552)委托，在墨西哥殖民地由一位匿名修士、土著艺术家和告密者制作。在手稿的许多画作中，前哥伦布时期的统治者(乌纳卡兹人)经常禁食，而其中一幅画——一幅罕见的由土著艺术家描绘的画——展示了他们的敌人在吃人肉。对这些图像的分析揭示了土著艺术家如何将欧洲和前哥伦布时期的同类相食和仪式消费模式转变为代表当地的概念，将食物、理性和征服联系起来，同时促进殖民统治下土著领导人的利益。
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