Art in Translation最新文献

{"title":"“Culture and Aesthetics at the Museum of Black Art”","authors":"Abdias do Nascimento","doi":"10.1080/17561310.2023.2266880","DOIUrl":"https://doi.org/10.1080/17561310.2023.2266880","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139264551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Afro-Brazilian Art","authors":"Mariano Carneiro da Cunha","doi":"10.1080/17561310.2023.2266879","DOIUrl":"https://doi.org/10.1080/17561310.2023.2266879","url":null,"abstract":"AbstractTo discuss the African influence on Brazilian visual arts, Carneiro da Cunha starts historicizing the African peoples from which enslaved men and women were brought to Brazil between the sixteenth and nineteenth centuries, later focusing on the evolution of African sculpture and the main elements of African art. In its second part, the article addresses the art created in Brazil when it was a Portuguese colony, discussing Black or Mestizo skills and genius at the service of visual arts projects and canons with a White worldview, but also African themes, symbols, or images present in the material culture of many Brazilian sociocultural realms. Defining Afro-Brazilian art as mostly related to Afro-Brazilian religions, the author presents a chronology of its first collections and discusses its relation to syncretism, cultural meanings, and stylistic continuity, analyzing Afro-Brazilian ritual statuary: Sango axes, Ibeji images, Gelede masks, and mainly Esu figurines. In the essay’s final part, the author discusses the continuity of African formal conventions in naturalist art, focusing on Antônio Francisco Libsoa’s work, and analyzes the emergence of Black artists and themes in the 1930s and 1940s art. An appendix briefly presents body art, clothing, jewelry, metal utensils, basketry, pottery, tannery, and decorative art.Keywords: African artAfrican sculptureAfrican diaspora artAfro-Brazilian artAfro-Brazilian jewelryAfro-Brazilian religionsAfro-Brazilian cultureBrazilian modernismBlack art Notes1 This is currently the most important site for the study of the Prehistory of humanity. Found there are traces of the cultures that have lived there from the beginnings of humanity to the present day. The oldest layer contains the most primitive artefacts imaginable: crudely hewn Olduvai stones. Also discovered there were various Australopithecus remains, an intermediary between apes and humans. However, the Leakey family’s most important discovery was the remains of a primate more human than the ones previously known, walking erect on two feet, little different to man today, although with more archaic hands, a below-average stature and a less-developed brain than our own. This fossil man is situated between the Australopithecus and the Homo Erectus of the East and Africa. Everything points to him being the author of the aforementioned stones and Leakey called him Homo Habilis. This species, along with such artefacts, has only been found so far in Black Africa, where humanity appears to have emerged from, around two million years ago.2 The term “bantu”, which characterizes a linguistic family, was for a long time used to designate a human group with shared physical traits, or a type of life based on agriculture or even a philosophy.3 Frank Willet, “African Arts and the Future: Decay or Development?” in African Themes: Northwestern University Studies in Honor of Gwendolen M. Carter, ed. I. Abu-Lughod (Evanston: Northwestern University, 1975), 72.4 Th","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"34 12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135036645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ESCALA Collection: A British Collection and its Connections with the Internationalization of Latin American Art","authors":"Alessandra Simões Paiva","doi":"10.1080/17561310.2023.2266884","DOIUrl":"https://doi.org/10.1080/17561310.2023.2266884","url":null,"abstract":"AbstractThis article analyses the ESCALA collection (Essex Collection of Art from Latin America), maintained at the University of Essex (UK), and its global role in promoting Latin American art. By examining the trajectory and conceptual basis of the collection, the study seeks to illuminate its contribution, in conjunction with other British institutions, to fostering the construction of a more global and less stereotypical perspective of Latin American art, as established from 1970 onwards by the US critical tradition. This research incorporates insights from theoretical and interpretative interdisciplinary literature while benefiting from the author’s visit to the collection in 2022. By combining scholarly resources and firsthand experience, this study aims to deepen our understanding of the collection’s significance and impact, fostering a more comprehensive perspective on Latin American art.Keywords: Latin American artcollectionspublic collectionsmuseologycontemporary art Disclosure statementNo potential conflict of interest was reported by the author(s).AcknowledgementsI would like to add my personal thanks to the staff of the ESCALA, Professor Dr Lisa Blackmore (Senior Lecturer in Art History and Interdisciplinary Studies/School of Philosophy and Art History), chief curator Dr Sarah Demelo and assistant curator Gisselle Giron, for their generosity in enabling much of the research that informed this essay. I am grateful to The Association of Hispanists of Great Britain & Ireland (AHGBI) for enabling my visit to the collection in October 2022 and to the National Council for Scientific and Technological Development (CNPq, Call No. 26/2021), Brazil, for the Postdoctoral fellowship, which allowed the completion of this article. I extend my heartfelt gratitude to Professor Thea Pitman (School of Languages, Cultures and Societies/University of Leeds/UK) and the University of Leeds for welcoming me as a Visiting Research Fellow. My special thanks to the Art in Translation editorial team for supporting this production.Notes1 The collection was expanded with the loan of works from the Cosac collection and the donation of works from the collection of Simone and Michael Naify. Simone and Michael Naify are the sister and brother-in-law, respectively, of Charles. Celso Fioravante, “Editor cria museu na Inglaterra,” Folha de São Paulo/Ilustrada (1997). Available at: https://www1.folha.uol.com.br/fsp/ilustrad/fq081004.htm.2 Valerie Fraser, “Arte Latinoamericano desde el Reino Unido: política, ética y estética,” Arara 11.1 (2013): 1–10. Available at: https://www1.essex.ac.uk/arthistory/research/pdfs/arara_issue_11/fraser.pdf3 The authors signed the \"Mitos Vadios Manifesto,\" which accompanied the performance of the same name created by artists such as Hélio Oiticica, Lygia Pape, and José Roberto Aguillar, in protest against the First Latin American Biennial. Artur Barrio, Lauro Cavalcanti, and Dinah Guimarães, “Manifesto Mitos Vadios,” in I Bienal Latino—Am","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"26 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135679306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Letters of Transition: The “Mediterranean Effect” in Some of Cy Twombly’s Works","authors":"Anne-Grit Becker","doi":"10.1080/17561310.2023.2243659","DOIUrl":"https://doi.org/10.1080/17561310.2023.2243659","url":null,"abstract":"AbstractIn 1957, four years after his first journey to Europe, Cy Twombly leaves New York City and crosses the Atlantic to live and work in Rome. Marked by uncertainty, especially in the beginning, the change of location affects the artist’s material practice and fosters within his work the emergence of what has often been called the “Mediterranean effect.” This essay examines this effect and critically questions its temporal logic. Cutting across media, it reflects on the artist’s process of making and relates his thinking articulated in a written statement with a staged photograph, a painterly graphic cycle and a set of collages. By drawing attention to previously unpublished letters, which evidence the artist’s reception of French symbolist poetics, in particular Stéphane Mallarmé’s use of blank space, it offers new insights for understanding how art making and writing initiate cross-cultural transfers and translate on the threshold between seemingly opposite worlds.Keywords: Temporalityprocess of makingmaterialityword and imageuncertaintyMallarméan poeticsblank spaceartist’s writingpainterly drawingcollage Notes1 Twombly’s unpublished letters to Ward (who had funded Twombly’s trip after several rejected applications for grants) are located in the Stable Gallery Records, Artist file: “Twombly, Cy,” Archives of American Art, Smithsonian Institution, Washington, D. C. Varnedoe quotes excerpts from this correspondence in his essay and dates the above letter to October 1958. Cf. Kirk Varnedoe, “Inscriptions in Arcadia,” in Cy Twombly: A Retrospective (New York: Museum of Modern Art, 1994), 62, note 127.2 Thus, Twombly in one of his first letters after his arrival in Rome in 1957: “Had dinner with Gabriela, Toti & the Afros the other nite. […] The gallery situation is nil. Even Afro had to show at a Communist gallery on Babuino & there was hardly any response.” (Cited in the above). In Italy, Twombly was able to build on already existing contacts with intellectuals and artists such as Gabriella Drudi and Toti Scialoja. He also met, among others, the art patron Giorgio Franchetti, whose sister Tatiana he married in April 1959. Cf. Twombly, interview by Nicholas Serota, “History Behind the Thought,” in Cy Twombly. Cycles and Seasons, ed. Nicholas Serota (London: Tate Publishing, 2008), 45.3 Roland Barthes, “The Wisdom of Art,” [French 1979] in idem, The Responsibility of Forms. Critical Essays on Music, Art, and Representation, trans. Richard Howard (Oxford: Blackwell, 1985), 186. Translation modified by author.4 See, for example, Heiner Bastian, Cy Twombly. Bilder 1952–1976, Vol. 1 (Berlin i.a.: Propyläen-Verlag, 1978), 9–28, esp. 12–13; as well as Rosalind Krauss, “Cy’s Up,” Artforum (September 1994): 71–74, 118.5 Barthes, “The Wisdom of Art,” 187.6 Ibid., 185. The following quotations from Barthes ibid. (with modified translations).7 Barthes refers to Aristotelian Poetics, which requires not only the unity of myth but also the causally logical str","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135717410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Configuration of Subjectivities in Contemporaneity: Performance Writing about the Production of the Spanish-Mexican Artist Remedios Varo","authors":"Edilberto Hernández González","doi":"10.1080/17561310.2023.2231238","DOIUrl":"https://doi.org/10.1080/17561310.2023.2231238","url":null,"abstract":"Abstract This reflective work consists of performance writing about the production of the Spanish-Mexican artist Remedios Varo. Performance writing is an approach based on aesthetic cognition. It is a way of understanding knowledge that privileges the possibilities of a sensitive encounter with the world around us, and that understands life as a constant movement of the energy that is the breath of all beings and cosmic density. The encounter with Varo’s works has been constructed through conversation and analysis of two experiences, one in Nobsa, Colombia and the other in Mexico City. These experiences became the keys to accessing Varo’s and her artistic works’ highly creative, subjective universe made up of dynamic networks that interconnect some worlds with others. Varo’s works reflect the way in which contemporary subjectivities are configured, in how spaces and bodies comprise complex, dramatic and emotional universes.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"178 - 192"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48255176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Parchment of High Medieval Italian Codices: A Survey of the Animal Species Used","authors":"Anna di Majo, C. Federici, M. Palma","doi":"10.1080/17561310.2023.2231235","DOIUrl":"https://doi.org/10.1080/17561310.2023.2231235","url":null,"abstract":"Abstract When examining parchment, it can be difficult to determine the animal species from which a skin was obtained. In order to develop a reliable and non-invasive method of identification, Anna Di Majo, Carlo Federici, and Marco Palma studied hair follicles in parchment from medieval Italian manuscripts. Using microscopes and transmitted light from heat-free optical fibers, they analyzed the entire follicular structure of each sheet. They compared their findings with contemporary parchment of known origin. Follicular arrangement along with other dermal structures, species-specific features, and hair-root depth revealed an overwhelming prevalence of goatskin among the sheets the team examined. This non-invasive technique can be useful in determining the provenance of parchment artifacts and for gaining a better understanding of the materials chosen for inscription and illumination.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"164 - 177"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41826274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Miracle-Worker Blessed Simon of Yuryevets: Tradition of Veneration and Iconography","authors":"N. Pivovarova","doi":"10.1080/17561310.2023.2231239","DOIUrl":"https://doi.org/10.1080/17561310.2023.2231239","url":null,"abstract":"Abstract In early modern Russia, church officials who validated cults sought to curb the authority of parishes which owned profitable, miracle-working icons. Nadezhda Pivovarova examines the investigations into the icon of Simon of Yuryevets, a holy fool whose image was banned in the early eighteenth century. This act of censorship reversed almost a century of devotion at the saint’s shrine. Nevertheless, Simon’s icon continued to be venerated by local parishioners until his cult was finally revived by scholars in the late nineteenth century, winning him immense fame. Through a meticulous reading of archival documents, Pivovarova elucidates the steps taken by the Holy Synod to authenticate Simon’s cult. Pivovarova’s study provides valuable insight into the church’s thinking when rejecting a popular icon. Moreover, her essay excavates the events that led to a reimagining of the vita icon—one of Byzantium’s most enduring artistic forms—which still ranks among the most widespread icon types in Orthodoxy.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"193 - 211"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45294509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Villa","authors":"Rudolf Borchardt","doi":"10.1080/17561310.2023.2191754","DOIUrl":"https://doi.org/10.1080/17561310.2023.2191754","url":null,"abstract":"Abstract Borchardt’s essay “Villa” was originally published in 1907 in two instalments in the Frankfurter Zeitung (vol. 51, Nr. 46, February 15, and Nr. 16, 1907, morning editions, pp. 1-3). The essay explores the Italian villa as a socioeconomic and cultural institution that, historically, has shaped and dominated the Italian cultural landscape. The villa as a building expresses the underlying socio-economic and cultural order of the surrounding region, an order which, in turn, can be comprehended through a thorough aesthetic analysis of villa buildings. Borchardt’s essay embeds the aesthetic analysis in a series of juxtapositions, among them, for example, a northern-European, Germanic perception of cultural landscapes versus a southern, Italian one; the German country home versus the Italian villa; or tourists taking in villas from a distance versus the culturally aware, almost sensual perception of foreigners such as Borchardt living in Italy. The essay begins with broad comparisons between Italian and German cultural landscapes, but quickly proceeds to a detailed analysis of the (northern) Italian countryside, especially Tuscany, and individual villas. The detailed aesthetic analysis of the architecture of villas is, according to Borchardt, the key to unlocking the socioeconomic and cultural order that gave rise to these buildings.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"29 - 42"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42844198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art and Science on Track","authors":"W. Ulbricht","doi":"10.1080/17561310.2023.2191768","DOIUrl":"https://doi.org/10.1080/17561310.2023.2191768","url":null,"abstract":"Abstract In this speech to the parliament of the German Democratic Republic, Walter Ulbricht, First Secretary of the ruling Socialist Unity Party, advocates a “new German architecture” based on stripped classical forms, which, according to Ulbricht, breaks with both “formalist” architecture of the West and fascist architecture. According to Ulbricht, this architecture also recalls the “worthy traditions” of German architecture, and is therefore the appropriate form for rebuilding Berlin–in turn, a symbol of the social reconstruction of East Germany.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"117 - 123"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49257954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Motor Highways built by Herr Hitler: The Planning, Construction and Importance of the Reich Motor Roads","authors":"Fritz Todt","doi":"10.1080/17561310.2023.2191771","DOIUrl":"https://doi.org/10.1080/17561310.2023.2191771","url":null,"abstract":"Abstract After the Nazis rose to power, one of their earliest initiatives was to address that in the aftermath of World War I, Germany had fallen behind in building modern roads. This situation was resolved by planning and building an entirely new network of highways instead of upgrading existing roads. The relevance of the highway program is explained as an anti-Bolshevik initiative aimed at overcoming class hatred—automobiles are for the rich only—in favor of car ownership across the German people. Building the roads before there was even a sufficient number of cars traveling on them was meant to increase car ownership. It was also an incentive to develop cars better suitable to the technically perfected roads. Finally, the design of the highways beautified the German landscape; traversing the vast scenes of Germany on those new highways would even help Germans “to think on broader lines.” (p. 274)","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"15 1","pages":"76 - 81"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42554191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}