Pub Date : 2022-04-03DOI: 10.1080/00043079.2022.2031766
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2022.2031766","DOIUrl":"https://doi.org/10.1080/00043079.2022.2031766","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43721023","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}
Part of a symposium on how digital technologies affect the practices of art and art history. The rapid expansion of information technology (IT) is having an impact on the ways that information about cultural subjects is created, organized, used, and stored, which in turn directly affect museums, the art market, arts organizations, government agencies, universities, and, increasingly, academics, artists, curators, and dealers. The IT revolution has generated a dynamic between, on the one hand, extreme fragmentation and multiplication of efforts, and, on the other, a need to define policies that will help chart a path through the chaos and rush. The writer studies the effectiveness of five groups—the European Union, the G7, Protecting Cultural Objects in the Global Information Society, the National Initiative for a Networked Cultural Heritage, and the Arts and Humanities Data Service—specifically formed to make policy in this area.
{"title":"The policy landscape","authors":"Susan L. Siegfried","doi":"10.1787/d5895157-en","DOIUrl":"https://doi.org/10.1787/d5895157-en","url":null,"abstract":"Part of a symposium on how digital technologies affect the practices of art and art history. The rapid expansion of information technology (IT) is having an impact on the ways that information about cultural subjects is created, organized, used, and stored, which in turn directly affect museums, the art market, arts organizations, government agencies, universities, and, increasingly, academics, artists, curators, and dealers. The IT revolution has generated a dynamic between, on the one hand, extreme fragmentation and multiplication of efforts, and, on the other, a need to define policies that will help chart a path through the chaos and rush. The writer studies the effectiveness of five groups—the European Union, the G7, Protecting Cultural Objects in the Global Information Society, the National Initiative for a Networked Cultural Heritage, and the Arts and Humanities Data Service—specifically formed to make policy in this area.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"42 1","pages":"209-213"},"PeriodicalIF":0.7,"publicationDate":"2022-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74920770","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 : 2022-01-02DOI: 10.1080/00043079.2021.1964826
A. Bigman
Abstract Sarah Charlesworth’s Stills (1980), a series of monumentally enlarged newspaper photographs depicting people plummeting from buildings, is commonly framed as a self-reflexive inquiry into the experience of time and mortality occasioned by photography. Based on archival research into Charlesworth’s journalistic source material for Stills and its antecedent, Modern History, this article advances an alternative reading of the works and their memorial-like format in terms of more collective experiences of temporality and history. These concerns, I argue, link Charlesworth’s project to a longer Pop art tradition, complicating established art historical accounts of the so-called Pictures Generation and its political imagination.
{"title":"Untimely Images, Fallen Figures: Sarah Charlesworth at the End of Modern History","authors":"A. Bigman","doi":"10.1080/00043079.2021.1964826","DOIUrl":"https://doi.org/10.1080/00043079.2021.1964826","url":null,"abstract":"Abstract Sarah Charlesworth’s Stills (1980), a series of monumentally enlarged newspaper photographs depicting people plummeting from buildings, is commonly framed as a self-reflexive inquiry into the experience of time and mortality occasioned by photography. Based on archival research into Charlesworth’s journalistic source material for Stills and its antecedent, Modern History, this article advances an alternative reading of the works and their memorial-like format in terms of more collective experiences of temporality and history. These concerns, I argue, link Charlesworth’s project to a longer Pop art tradition, complicating established art historical accounts of the so-called Pictures Generation and its political imagination.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"146 - 171"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44832688","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 : 2022-01-02DOI: 10.1080/00043079.2022.1991756
S. J. Scott
{"title":"Figurines in Hellenistic Babylonia: Miniaturization and Cultural Hybridity, by Stephanie M. Langin-Hooper","authors":"S. J. Scott","doi":"10.1080/00043079.2022.1991756","DOIUrl":"https://doi.org/10.1080/00043079.2022.1991756","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"172 - 175"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49333781","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 : 2022-01-02DOI: 10.1080/00043079.2021.1970479
C. Black, T. Barringer
Tis special feature brings into conversation two specialists, one in the art of the early modern Spanish Empire, the other in that of the British Empire of the eighteenth to twentieth centuries. At a moment when art history seeks to identify and disavow colonial legacies, we propose a renewed, theoretically informed, and critical engagement with the historical imbrication of art and empire. Empire has been a presence in virtually all historical periods and all regions. We recognize that a broader discussion is needed, involving scholars representing the full chronological and geographical range of art historical study. But empire also remains with us now, in every aspect of social life, and imperial thinking, in plain sight, still conditions the practice of art history. Te institutions of our discipline are the products of empire and allow its ideologies extended life, ordering our museum collections, library shelves, and course catalogs. We write during a global pandemic, at a time punctuated by the toppling of racist monuments and urgent calls for justice. We bear witness to the disastrous legacies of empire, from political instability and demographic catastrophe to devastating climate change. We propose that at this febrile juncture, as art history moves beyond the European canon to tell a richer, more vibrant, transregional, decolonized, and intercultural history of the visual arts and material culture, there are timely new possibilities for the analysis of art and empire. How, though, can we write about art and empire without replicating imperial ideologies and hierarchies, naturalizing the historical subjugation of colonized peoples, or reinscribing empire’s own organizing principle of center and periphery? Allow us to open with a land acknowledgment, naming the direct and salient links between histories of empire and our present locations—a necessary act of self-refexivity. One of us writes from the University of California, Los Angeles, which stands on unceded Gabrielino/Tongva land, in a city named in 1781 by the soldier-governor Felipe de Neve (1724–1784) as part of the Spanish Empire, el Pueblo de los Ángeles. To echo the UCLA Chancellor’s Ofce’s acknowledgment of August 22, 2019: “UCLA acknowledges the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (the Los Angeles basin and Southern Channel Islands). As a land grant institution, we pay our respects to the Honuukvetam (ancestors), ‘Ahiihirom (elders) and ‘Eyoohiinkem (our relatives/relations) past, present, and emerging.”1 Te recent toppling of statues of Father Junípero Serra (1713–1784), founder of nine of California’s twenty-one Spanish-Indian missions, drew public attention to the state’s history as a crossroads of empire (Fig. 1). Sited on Tongva lands that were seized to become the Rancho de San José de Buenos Aires, UCLA was founded with fnancial support from UC Berkeley, one of the universities created after the seizure of Indigenous land through the
这一特殊的特点引起了两位专家的讨论，一位是早期现代西班牙帝国的艺术专家，另一位是18至20世纪大英帝国的艺术专家。在艺术史试图识别和否认殖民遗产的时刻，我们提出了一种新的、理论上的、批判性的参与艺术和帝国的历史交织。帝国几乎在所有历史时期和所有地区都存在。我们认识到需要进行更广泛的讨论，包括代表艺术史研究的完整时间和地理范围的学者。但如今，帝国仍然存在于我们身边，存在于社会生活的方方面面。显而易见，帝国思想仍然制约着艺术史的实践。我们学科的机构是帝国的产物，并允许其意识形态延长生命，订购我们的博物馆藏品，图书馆书架和课程目录。我们在全球大流行病期间写作，在种族主义纪念碑被推翻和迫切呼吁伸张正义的时刻。我们目睹了帝国的灾难性遗产，从政治不稳定和人口灾难到毁灭性的气候变化。我们认为，在这个狂热的时刻，随着艺术史超越了欧洲的经典，讲述了一个更丰富、更有活力、跨区域、非殖民化和跨文化的视觉艺术和物质文化的历史，对艺术和帝国的分析适时出现了新的可能性。然而，如果不复制帝国的意识形态和等级制度，不将殖民人民的历史征服归化，不重新定义帝国自己的中心和边缘组织原则，我们怎么能写艺术和帝国呢?请允许我们以对土地的承认作为开场白，指出帝国的历史和我们现在的位置之间的直接和显著的联系——这是一种必要的自我反思。我们中的一个人在洛杉矶加利福尼亚大学写信，它坐落在未被割让的加布里利诺/通瓦土地上，这座城市于1781年被士兵总督费利佩·德·内夫(1724-1784)命名为西班牙帝国的一部分，el Pueblo de Los Ángeles。为了呼应加州大学洛杉矶分校校长办公室在2019年8月22日的承认:“加州大学洛杉矶分校承认加布里利诺/通瓦人是Tovaangar(洛杉矶盆地和南海峡群岛)的传统土地守护者。作为一个土地授予机构，我们向Honuukvetam(祖先)、ahihihirom(长辈)和Eyoohiinkem(我们的亲戚/关系)的过去、现在和未来表达敬意。1最近推翻了神父Junípero Serra(1713-1784)的雕像，他是加州21个西班牙印第安人传教会中的9个的创始人，引起了公众对该州作为帝国十字路口的历史的关注(图1)。加州大学洛杉矶分校位于被占领的通瓦土地上，成为布宜诺斯艾利斯的圣何塞牧场，加州大学伯克利分校在加州大学伯克利分校的财政支持下成立，加州大学伯克利分校是通过1862年梅里尔法案夺取土著土地后创建的大学之一。另一篇来自耶鲁大学，它承认土著民族和民族对现在康涅狄格州的土地和水道的代际管理，包括莫黑根人、马山塔克特佩科特人、东佩科特人、沙格蒂科克人、金山波古塞特人、尼安蒂克人、昆尼皮亚克人和其他说阿尔冈琴语的人在这所大学的历史中，殖民主义、资本主义和奴隶制交织在一起。它于1701年在康涅狄格的英国殖民地纽黑文成立，
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Pub Date : 2022-01-02DOI: 10.1080/00043079.2021.1964836
Ryan Whyte
Abstract This paper addresses the appropriation in Old Regime France, the First French Republic, and the nascent United States of the ritual wherein at the start of the agricultural season the Chinese Emperor ceremonially drove the plow. It argues that this cultural transfer insinuated Chinese ideals of political sovereignty into the highest political levels in Europe and the United States, even as it effaced references to China. Overturning traditional art historical definitions of chinoiserie, it posits instead dynamic, dialectical processes of cultural exchange whose scope of cultural transfer is not restricted to what can be identified through comparisons of style and iconography.
{"title":"Turned Earth: The Chinese Plowing Ritual in the Age of Enlightenment","authors":"Ryan Whyte","doi":"10.1080/00043079.2021.1964836","DOIUrl":"https://doi.org/10.1080/00043079.2021.1964836","url":null,"abstract":"Abstract This paper addresses the appropriation in Old Regime France, the First French Republic, and the nascent United States of the ritual wherein at the start of the agricultural season the Chinese Emperor ceremonially drove the plow. It argues that this cultural transfer insinuated Chinese ideals of political sovereignty into the highest political levels in Europe and the United States, even as it effaced references to China. Overturning traditional art historical definitions of chinoiserie, it posits instead dynamic, dialectical processes of cultural exchange whose scope of cultural transfer is not restricted to what can be identified through comparisons of style and iconography.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"78 - 97"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45246624","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 : 2022-01-02DOI: 10.1080/00043079.2022.1991757
Armin Bergmeier
disciplines, namely that Byzantium was the medieval Roman Empire, viewed as such by the subjects of the Roman emperors and by their neighbors alike.2 Byzantine Roman identity—as most other prenationalistic identities—was not parsed along the lines of language, ethnicity, skin color, and territory. It was a fluid construct based on shared values and traditions. Ethnicity, culture, and territory were not welded together as our modern post-Enlightenment notions would have us believe.3 Other scholars, mostly historians and
{"title":"Byzantine Intersectionality: Sexuality, Gender and Race in the Middle Ages, by Roland Betancourt","authors":"Armin Bergmeier","doi":"10.1080/00043079.2022.1991757","DOIUrl":"https://doi.org/10.1080/00043079.2022.1991757","url":null,"abstract":"disciplines, namely that Byzantium was the medieval Roman Empire, viewed as such by the subjects of the Roman emperors and by their neighbors alike.2 Byzantine Roman identity—as most other prenationalistic identities—was not parsed along the lines of language, ethnicity, skin color, and territory. It was a fluid construct based on shared values and traditions. Ethnicity, culture, and territory were not welded together as our modern post-Enlightenment notions would have us believe.3 Other scholars, mostly historians and","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"175 - 178"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41908882","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 : 2022-01-02DOI: 10.1080/00043079.2022.1991765
W. Thebele
{"title":"The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution, by Dan Hicks","authors":"W. Thebele","doi":"10.1080/00043079.2022.1991765","DOIUrl":"https://doi.org/10.1080/00043079.2022.1991765","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"185 - 188"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45607339","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 : 2022-01-02DOI: 10.1080/00043079.2021.1964840
W. Rea
This paper documents the visual culture of Nigeria at the beginning of the twentieth century. It offers a discussion of a single piece of woodcarving and places this in relation to workshop carvings in the Yoruba town of Abeokuta. More precisely, it places that work into the context of a colonial history, suggesting the carving is a portrait and record of a particular event. The paper looks to other examples of Yoruba woodcarving, placing them into relationship with historical events before moving to a wider consideration of Yoruba visual culture and its representations of Yoruba cultural agency in relation to the British colonial regime.
{"title":"The King’s Horseman: Portraits of Authority in Southwestern Nigeria","authors":"W. Rea","doi":"10.1080/00043079.2021.1964840","DOIUrl":"https://doi.org/10.1080/00043079.2021.1964840","url":null,"abstract":"This paper documents the visual culture of Nigeria at the beginning of the twentieth century. It offers a discussion of a single piece of woodcarving and places this in relation to workshop carvings in the Yoruba town of Abeokuta. More precisely, it places that work into the context of a colonial history, suggesting the carving is a portrait and record of a particular event. The paper looks to other examples of Yoruba woodcarving, placing them into relationship with historical events before moving to a wider consideration of Yoruba visual culture and its representations of Yoruba cultural agency in relation to the British colonial regime.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"118 - 145"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49584080","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 : 2022-01-02DOI: 10.1080/00043079.2022.1991763
Lihong Liu
{"title":"Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe, by Stephen H. Whiteman","authors":"Lihong Liu","doi":"10.1080/00043079.2022.1991763","DOIUrl":"https://doi.org/10.1080/00043079.2022.1991763","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"104 1","pages":"178 - 182"},"PeriodicalIF":0.7,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44091762","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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