Pub Date : 2021-10-02DOI: 10.1080/00043079.2021.1925014
Atreyee Gupta
Abstract For the South Asian artist Francis Newton Souza (1924–2000), the color black—redolent with achromatic intensity, controverted in color theory, resonant with political potentiality—mattered. Preoccupied with the color from 1954, Souza completed a series of over fifty monochromatic black paintings in 1965. What meaning did the color have for the then London-based artist? In postwar art, the color black remained associated with infinity, spirituality, and transcendence. In contrast, situating blackness at the intersections of decolonization, Négritude, and civil rights movements tracks a contrapuntal politics and poetics of the color through Souza’s black paintings.
{"title":"Francis Newton Souza’s Black Paintings: Postwar Transactions in Color","authors":"Atreyee Gupta","doi":"10.1080/00043079.2021.1925014","DOIUrl":"https://doi.org/10.1080/00043079.2021.1925014","url":null,"abstract":"Abstract For the South Asian artist Francis Newton Souza (1924–2000), the color black—redolent with achromatic intensity, controverted in color theory, resonant with political potentiality—mattered. Preoccupied with the color from 1954, Souza completed a series of over fifty monochromatic black paintings in 1965. What meaning did the color have for the then London-based artist? In postwar art, the color black remained associated with infinity, spirituality, and transcendence. In contrast, situating blackness at the intersections of decolonization, Négritude, and civil rights movements tracks a contrapuntal politics and poetics of the color through Souza’s black paintings.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"111 - 137"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42536088","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 : 2021-10-02DOI: 10.1080/00043079.2021.1925011
Steffen Zierholz
Abstract Under examination are two Temptations of Saint Anthony on stone: one painted on ruin marble by Jacob van Swanenburgh, the other on oriental alabaster by an unknown Flemish artist. I explore the optical properties of the pictorial surface, the ontology of representation, and the impact of the stone support on visual perception. The unique surface qualities of the paintings are considered to function as subiconographic elements closely related to the pictorial subject. I argue that the use of stone as support is largely motivated by both the pictorial subject and religious practices related to it.
{"title":"The Subiconographic Surface: Two Temptations of Saint Anthony Painted on Stone","authors":"Steffen Zierholz","doi":"10.1080/00043079.2021.1925011","DOIUrl":"https://doi.org/10.1080/00043079.2021.1925011","url":null,"abstract":"Abstract Under examination are two Temptations of Saint Anthony on stone: one painted on ruin marble by Jacob van Swanenburgh, the other on oriental alabaster by an unknown Flemish artist. I explore the optical properties of the pictorial surface, the ontology of representation, and the impact of the stone support on visual perception. The unique surface qualities of the paintings are considered to function as subiconographic elements closely related to the pictorial subject. I argue that the use of stone as support is largely motivated by both the pictorial subject and religious practices related to it.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"36 - 60"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46926208","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957395
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2021.1957395","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957395","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45072700","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957379
Martin A. Berger
11. “The idiosyncratic look of Rembrandt’s paint . . . entailed a claim to be distinguished, to stand apart, to be himself and, in the format of the mature paintings, to even constitute a self. This self was not forced on Rembrandt by the world around him—as the romantic view of the lonely, rejected artist would have it—but was very much his own invention.” Svetlana Alpers, Rembrandt’s Enterprise: The Studio and the Market (Chicago: University of Chicago Press, 1988), 33. katherine a. bussard and kristen gresh, eds. “Life” Magazine and the Power of Photography New Haven, CT: Yale University Press, 2020. 336 pp.; 250 color and b/w ills. $60.00
{"title":"“Life” Magazine and the Power of Photography, edited by Katherine A. Bussard and Kristen Gresh","authors":"Martin A. Berger","doi":"10.1080/00043079.2021.1957379","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957379","url":null,"abstract":"11. “The idiosyncratic look of Rembrandt’s paint . . . entailed a claim to be distinguished, to stand apart, to be himself and, in the format of the mature paintings, to even constitute a self. This self was not forced on Rembrandt by the world around him—as the romantic view of the lonely, rejected artist would have it—but was very much his own invention.” Svetlana Alpers, Rembrandt’s Enterprise: The Studio and the Market (Chicago: University of Chicago Press, 1988), 33. katherine a. bussard and kristen gresh, eds. “Life” Magazine and the Power of Photography New Haven, CT: Yale University Press, 2020. 336 pp.; 250 color and b/w ills. $60.00","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"144 - 147"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48983213","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957386
G. Batchen
national ideals”; “forced a psychic transformation of the citizenry”; and made “it impossible for white moderates to ‘sit on the fence’ and forced viewers to choose either ‘for’ or ‘against’ the moral alternatives set out by the civil rights movement” (244–49).5 The “power” described is always top-down, with photographers, negative editors, picture editors, and managing editors shifting the beliefs of (implicitly) white readers. For such claims of power to stand as more than the hopes of an elite (whether Life employees or contemporary scholars), analysis is required of the psychological and social processes through which the photographs were made meaningful by the millions of Americans who read the periodical each week.
{"title":"Projecting Citizenship: Photography and Belonging in the British Empire, by Gabrielle Moser","authors":"G. Batchen","doi":"10.1080/00043079.2021.1957386","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957386","url":null,"abstract":"national ideals”; “forced a psychic transformation of the citizenry”; and made “it impossible for white moderates to ‘sit on the fence’ and forced viewers to choose either ‘for’ or ‘against’ the moral alternatives set out by the civil rights movement” (244–49).5 The “power” described is always top-down, with photographers, negative editors, picture editors, and managing editors shifting the beliefs of (implicitly) white readers. For such claims of power to stand as more than the hopes of an elite (whether Life employees or contemporary scholars), analysis is required of the psychological and social processes through which the photographs were made meaningful by the millions of Americans who read the periodical each week.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"147 - 149"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43854902","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957376
Jürg Schneider
thinking what Moser is thinking. By providing similar social contexts and “practicing a disobedient gaze” (2), Moser also reads dissonance into images of immigrant workers, Black business owners, and indentured laborers. However, as she freely admits, “to develop these moments of political contestation” (111) requires “some imaginative liberty on the part of the archival researcher” (110). Projecting Citizenship therefore offers a number of ruminations on projection, the most contentious of which concerns its author’s willingness to impose her own critically informed view of the archive onto COVIC’s multiple spectators of a century ago. The book’s success depends on a reader’s willingness to conflate how these slideshows might be read today with how they were actually received at the time. For this, there is no definitive evidence, other than the very real struggles for self-determination that marked the early twentieth-century histories of much of the British Empire. What is at stake in this project, then, is the relationship of archival research and “imaginative liberty” (110). What is at stake is the tension between history’s claim to speak with authority for and about the past, and its responsibility to the present to “imagine other ways of recognizing and living with one another in the world” (178).
{"title":"Unfixed: Photography and Decolonial Imagination in West Africa, by Jennifer Bajorek","authors":"Jürg Schneider","doi":"10.1080/00043079.2021.1957376","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957376","url":null,"abstract":"thinking what Moser is thinking. By providing similar social contexts and “practicing a disobedient gaze” (2), Moser also reads dissonance into images of immigrant workers, Black business owners, and indentured laborers. However, as she freely admits, “to develop these moments of political contestation” (111) requires “some imaginative liberty on the part of the archival researcher” (110). Projecting Citizenship therefore offers a number of ruminations on projection, the most contentious of which concerns its author’s willingness to impose her own critically informed view of the archive onto COVIC’s multiple spectators of a century ago. The book’s success depends on a reader’s willingness to conflate how these slideshows might be read today with how they were actually received at the time. For this, there is no definitive evidence, other than the very real struggles for self-determination that marked the early twentieth-century histories of much of the British Empire. What is at stake in this project, then, is the relationship of archival research and “imaginative liberty” (110). What is at stake is the tension between history’s claim to speak with authority for and about the past, and its responsibility to the present to “imagine other ways of recognizing and living with one another in the world” (178).","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"149 - 152"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46527901","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 : 2021-10-02DOI: 10.1080/00043079.2021.1925012
Andrei Pop
Abstract Since Gert Schiff’s magisterial publication of 1973 on Henry Fuseli (1741–1825), a print identified as representing the enslaved prince Oroonoko has raised unsettling questions about the complex implication of even liberal, abolitionist eighteenth-century artists and intellectuals in the world system of enslaved labor. But problems of fit with Thomas Southerne’s 1695 play Oroonoko, popular throughout the eighteenth century, and with Aphra Behn’s 1688 eponymous novel demand a reattribution, placing the print in a debate about not only slavery in the Americas but also race, classicism, and the merits of Indigenous and European civilization in South Africa.
{"title":"The Importance of Being Oroonoko: An Art Historical Morality Play","authors":"Andrei Pop","doi":"10.1080/00043079.2021.1925012","DOIUrl":"https://doi.org/10.1080/00043079.2021.1925012","url":null,"abstract":"Abstract Since Gert Schiff’s magisterial publication of 1973 on Henry Fuseli (1741–1825), a print identified as representing the enslaved prince Oroonoko has raised unsettling questions about the complex implication of even liberal, abolitionist eighteenth-century artists and intellectuals in the world system of enslaved labor. But problems of fit with Thomas Southerne’s 1695 play Oroonoko, popular throughout the eighteenth century, and with Aphra Behn’s 1688 eponymous novel demand a reattribution, placing the print in a debate about not only slavery in the Americas but also race, classicism, and the merits of Indigenous and European civilization in South Africa.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"61 - 84"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46529173","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 : 2021-10-02DOI: 10.1080/00043079.2021.1925010
W. Hung
Abstract By focusing on six recently discovered tomb murals dating from the eighth to early tenth centuries that simulate landscape paintings in content and format, I articulate a new methodological framework to investigate a series of unexplored issues in the early history of Chinese landscape painting. By simultaneously examining the murals’ pictorial and architectural contexts in the underground tombs and their connections with the “real” landscape paintings they imitate, I experiment with a more thorough integration of connoisseurship-based painting scholarship and archaeology-based studies of tomb art, which have largely been considered two separate fields in Chinese art history.
{"title":"Simulated Landscape Paintings: Newly Unearthed Tomb Murals in Tang China","authors":"W. Hung","doi":"10.1080/00043079.2021.1925010","DOIUrl":"https://doi.org/10.1080/00043079.2021.1925010","url":null,"abstract":"Abstract By focusing on six recently discovered tomb murals dating from the eighth to early tenth centuries that simulate landscape paintings in content and format, I articulate a new methodological framework to investigate a series of unexplored issues in the early history of Chinese landscape painting. By simultaneously examining the murals’ pictorial and architectural contexts in the underground tombs and their connections with the “real” landscape paintings they imitate, I experiment with a more thorough integration of connoisseurship-based painting scholarship and archaeology-based studies of tomb art, which have largely been considered two separate fields in Chinese art history.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"6 - 35"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47473743","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 : 2021-10-02DOI: 10.1080/00043079.2021.1957385
S. E. Lewis
{"title":"Marking Time: Art in the Age of Mass Incarceration, by Nicole R. Fleetwood","authors":"S. E. Lewis","doi":"10.1080/00043079.2021.1957385","DOIUrl":"https://doi.org/10.1080/00043079.2021.1957385","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"152 - 154"},"PeriodicalIF":0.7,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49423424","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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