Pub Date : 2022-08-16DOI: 10.1080/17561310.2022.2085458
C. Hopkins, Stefana Djokic
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Pub Date : 2022-08-14DOI: 10.1080/17561310.2022.2096347
Javier Ortiz-Echagüe
Abstract During the Cold War Picasso’s Guernica was on loan at the Museum of Modern Art in New York. Throughout this period, its interpretation was the subject of much debate. The museum was interested in situating the painting within its own narrative of twentieth-century art history, while, at the same time, the painting functioned as an icon in contemporary political struggles in the form of reproductions and pictorial versions. This article reviews some of these contradictory positions towards Picasso’s work during this intense “battle for the interpretation”.
{"title":"Mission Impossible: Guernica. The Battle for the Interpretation of Picasso’s Work during the Cold War","authors":"Javier Ortiz-Echagüe","doi":"10.1080/17561310.2022.2096347","DOIUrl":"https://doi.org/10.1080/17561310.2022.2096347","url":null,"abstract":"Abstract During the Cold War Picasso’s Guernica was on loan at the Museum of Modern Art in New York. Throughout this period, its interpretation was the subject of much debate. The museum was interested in situating the painting within its own narrative of twentieth-century art history, while, at the same time, the painting functioned as an icon in contemporary political struggles in the form of reproductions and pictorial versions. This article reviews some of these contradictory positions towards Picasso’s work during this intense “battle for the interpretation”.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"204 - 225"},"PeriodicalIF":0.0,"publicationDate":"2022-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45972879","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}
Pub Date : 2022-07-26DOI: 10.1080/17561310.2022.2099089
J. Bailey
Abstract This essay examines the strategies used by artists in the Soviet Union to access censored publications about contemporary American art between the 1950s and 1980s. It weaves together the personal recollections of artists associated with Moscow Conceptualism to consider the effect that smuggled or secretly reproduced texts and images had on those among whom they were circulated. The essay explores how the literal and metaphorical translation of artistic concepts into an environment with a contrasting normative background destabilized what is often assumed to be an instance of unidirectional West-to-East influence, with experiences such as misunderstanding and self-exoticization provoking new creative possibilities.
{"title":"Moscow Conceptualism and the (Mis)Translation of American Art","authors":"J. Bailey","doi":"10.1080/17561310.2022.2099089","DOIUrl":"https://doi.org/10.1080/17561310.2022.2099089","url":null,"abstract":"Abstract This essay examines the strategies used by artists in the Soviet Union to access censored publications about contemporary American art between the 1950s and 1980s. It weaves together the personal recollections of artists associated with Moscow Conceptualism to consider the effect that smuggled or secretly reproduced texts and images had on those among whom they were circulated. The essay explores how the literal and metaphorical translation of artistic concepts into an environment with a contrasting normative background destabilized what is often assumed to be an instance of unidirectional West-to-East influence, with experiences such as misunderstanding and self-exoticization provoking new creative possibilities.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"108 - 141"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44977875","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}
Pub Date : 2022-07-26DOI: 10.1080/17561310.2022.2085465
Marisa Volpi Orlandini
Abstract The translated text is the introductory chapter in Marisa Volpi Orlando’s book Arte dopo il 1945, U.S.A. (1969). This was the first Italian-language survey book of American art after the Second World War. It was the outcome of the writer’s firsthand experience of American art and culture during her extended visit to the US in 1966. Volpi's text should be read with Silvia Bottinelli's essay on Volpi, published in this volume.
摘要译文是Marisa Volpi Orlando的书《Arte dopo il 1945，U.s.A.》（1969）的引言部分。这是第二次世界大战后第一本关于美国艺术的意大利语调查书。这是作者在1966年长期访问美国期间对美国艺术和文化的亲身体验的结果。Volpi的文本应该与Silvia Bottinelli在本卷中发表的关于Volpi的文章一起阅读。
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Pub Date : 2022-07-26DOI: 10.1080/17561310.2022.2085466
Marisa Volpi Orlandini
Abstract Marisa Volpi Orlando’s Arte dopo il 1945, U.S.A. (1969) was the first Italian-language survey book of American art after the Second World War. In this chapter she discusses Pop art and introduces key artists (such as Robert Rauschenberg, Cy Twombly, Jasper Johns, Andy Warhol, Roy Lichtenstein, and Claes Oldenburg), influential anglophone critics (such as Leslie Fiedler, Lawrence Alloway, Alan Solomon and others) and galleries (Leo Castelli). The translation should be read with Silvia Bottinelli's essay on Volpi, published in this volume.
摘要Marisa Volpi Orlando的《Arte dopo il 1945，U.s.A.》（1969）是第二次世界大战后第一本关于美国艺术的意大利语调查书。在本章中，她讨论了波普艺术，并介绍了主要艺术家（如Robert Rauschenberg、Cy Twombly、Jasper Johns、Andy Warhol、Roy Lichtenstein和Claes Oldenburg）、有影响力的英语评论家（如Leslie Fiedler、Lawrence Alloway、Alan Solomon等人）和画廊（Leo Castelli）。译文应与西尔维娅·博蒂内利（Silvia Bottinelli）在本卷中发表的关于Volpi的文章一起阅读。
{"title":"Pop Art","authors":"Marisa Volpi Orlandini","doi":"10.1080/17561310.2022.2085466","DOIUrl":"https://doi.org/10.1080/17561310.2022.2085466","url":null,"abstract":"Abstract Marisa Volpi Orlando’s Arte dopo il 1945, U.S.A. (1969) was the first Italian-language survey book of American art after the Second World War. In this chapter she discusses Pop art and introduces key artists (such as Robert Rauschenberg, Cy Twombly, Jasper Johns, Andy Warhol, Roy Lichtenstein, and Claes Oldenburg), influential anglophone critics (such as Leslie Fiedler, Lawrence Alloway, Alan Solomon and others) and galleries (Leo Castelli). The translation should be read with Silvia Bottinelli's essay on Volpi, published in this volume.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"191 - 203"},"PeriodicalIF":0.0,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43487300","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}
Pub Date : 2022-07-24DOI: 10.1080/17561310.2022.2085462
Stefana Djokic
Abstract This essay investigates four exhibitions linked to Pop art that took place in former Yugoslavia in the 1960s: Olja Ivanjicki’s Pop Art (1964, Belgrade), New Figuration of the Belgrade Circle (Belgrade, 1966), and the two US-sponsored Pop Art (1966, Zagreb, Belgrade) and The New Vein: The Figure (Belgrade, 1969). The discussion explores the reception of Pop art in socialist Yugoslavia and the ways in which Yugoslav artists deployed the style as a vehicle to address political events, histories, and new phenomena, such as Yugoslavia’s orientation towards a market economy and the development of consumerism as a result of the country’s opening to the West. The essay reveals how the Yugoslav reception of Pop art was bound up with issues of national and political identities, aesthetics, and gender.
{"title":"Yugoslav Perceptions and Translations of Pop Art during the 1960s","authors":"Stefana Djokic","doi":"10.1080/17561310.2022.2085462","DOIUrl":"https://doi.org/10.1080/17561310.2022.2085462","url":null,"abstract":"Abstract This essay investigates four exhibitions linked to Pop art that took place in former Yugoslavia in the 1960s: Olja Ivanjicki’s Pop Art (1964, Belgrade), New Figuration of the Belgrade Circle (Belgrade, 1966), and the two US-sponsored Pop Art (1966, Zagreb, Belgrade) and The New Vein: The Figure (Belgrade, 1969). The discussion explores the reception of Pop art in socialist Yugoslavia and the ways in which Yugoslav artists deployed the style as a vehicle to address political events, histories, and new phenomena, such as Yugoslavia’s orientation towards a market economy and the development of consumerism as a result of the country’s opening to the West. The essay reveals how the Yugoslav reception of Pop art was bound up with issues of national and political identities, aesthetics, and gender.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"142 - 172"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41572871","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}
Pub Date : 2022-07-24DOI: 10.1080/17561310.2022.2087997
Silvia Bottinelli
Abstract This essay presents an analysis of the book Arte dopo il 1945. U.S.A (Art after 1945. U.S.A), published by Italian art historian and critic Marisa Volpi in 1969, after traveling to the United States of America in the mid-1960s. While Volpi’s perspective is imbued with Eurocentric art genealogies, her direct observation of US contexts and encounter with artists and institutional figures in North America shape aspects of her narrative. Volpi sees contemporary US art as a response to the vast landscapes, urban materials, and excessive consumerism of US spaces and society. Volpi's introductory chapter and her chapter “Pop Art” from her book are available in English translation in this volume.
{"title":"Open Spaces and Consumerist Excess. On Marisa Volpi’s book Arte dopo il 1945. U.S.A.","authors":"Silvia Bottinelli","doi":"10.1080/17561310.2022.2087997","DOIUrl":"https://doi.org/10.1080/17561310.2022.2087997","url":null,"abstract":"Abstract This essay presents an analysis of the book Arte dopo il 1945. U.S.A (Art after 1945. U.S.A), published by Italian art historian and critic Marisa Volpi in 1969, after traveling to the United States of America in the mid-1960s. While Volpi’s perspective is imbued with Eurocentric art genealogies, her direct observation of US contexts and encounter with artists and institutional figures in North America shape aspects of her narrative. Volpi sees contemporary US art as a response to the vast landscapes, urban materials, and excessive consumerism of US spaces and society. Volpi's introductory chapter and her chapter “Pop Art” from her book are available in English translation in this volume.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"173 - 184"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49405713","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}
Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2114674
Tan Zi Hao
Abstract The makara is a chimeric creature composed of parts from an elephant, a crocodile, a fish, and others. As an iconography derived from early Indian traditions, the makara has traversed the Indian Ocean, making its mark principally on Hindu-Buddhist monuments and ceremonial paraphernalia in South and Southeast Asia. Looking at select objects spanning centuries, a longue durée approach to the makara is conceived to attend to the migration of an iconography that has been translated into different registers. Unraveling the latent affinities among the manifold forms of the makara, this essay foregrounds the transregional trace of a chimera customarily sidelined in historical analyses. A loose chronology directs the course of the essay, proceeding from ancient relics to early modern weaponry, and culminating with the half-lion and half-fish Merlion, the national icon of Singapore. By navigating the vicissitudes of the chimeric trace of the makara, this essay demonstrates how transcultural encounters occur in ways that eschew pre-established assumptions of culture.
{"title":"The Chimeric Trace: The Makara and Other Connections to Come","authors":"Tan Zi Hao","doi":"10.1080/17561310.2022.2114674","DOIUrl":"https://doi.org/10.1080/17561310.2022.2114674","url":null,"abstract":"Abstract The makara is a chimeric creature composed of parts from an elephant, a crocodile, a fish, and others. As an iconography derived from early Indian traditions, the makara has traversed the Indian Ocean, making its mark principally on Hindu-Buddhist monuments and ceremonial paraphernalia in South and Southeast Asia. Looking at select objects spanning centuries, a longue durée approach to the makara is conceived to attend to the migration of an iconography that has been translated into different registers. Unraveling the latent affinities among the manifold forms of the makara, this essay foregrounds the transregional trace of a chimera customarily sidelined in historical analyses. A loose chronology directs the course of the essay, proceeding from ancient relics to early modern weaponry, and culminating with the half-lion and half-fish Merlion, the national icon of Singapore. By navigating the vicissitudes of the chimeric trace of the makara, this essay demonstrates how transcultural encounters occur in ways that eschew pre-established assumptions of culture.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"338 - 370"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48999131","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}
Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2120343
C. Ndubuisi
Abstract This paper discusses the influence on three Catholic churches in Lagos of the short-lived Oye-Ekiti Christian Art Workshop (1947-1954) and questions how the philosophy of the workshop and the artworks it produced are regarded today. The study traces the history of the Christian religion in Nigeria and the religious beliefs of the Nigerian people before the arrival of Christianity. It also examines the synthesis of traditional Yoruba art and the Christian religion introduced by the Oye-Ekiti, and interrogates the opposition of some church leaders in recent times to representations of Christian images in Yoruba indigenous forms. This opposition, which has led to the rejection and subsequent removal of artworks that formerly adorned the three Lagos churches is contextualized in interviews with the parish priests of these three churches. It is argued that Nigerian art is rich in signs and symbols due to its multi-ethnic, diverse culture and religious beliefs and proposes that the Oye-Ekiti Christian Art Workshop was necessary because it promoted indigenous art as a potential cultural vehicle for Christian liturgy in Nigeria.
{"title":"The Oye-Ekiti Christian Art Workshop and the Fusion of the European Catholic Tradition and Nigerian Indigenous Art in Three Lagos Churches","authors":"C. Ndubuisi","doi":"10.1080/17561310.2022.2120343","DOIUrl":"https://doi.org/10.1080/17561310.2022.2120343","url":null,"abstract":"Abstract This paper discusses the influence on three Catholic churches in Lagos of the short-lived Oye-Ekiti Christian Art Workshop (1947-1954) and questions how the philosophy of the workshop and the artworks it produced are regarded today. The study traces the history of the Christian religion in Nigeria and the religious beliefs of the Nigerian people before the arrival of Christianity. It also examines the synthesis of traditional Yoruba art and the Christian religion introduced by the Oye-Ekiti, and interrogates the opposition of some church leaders in recent times to representations of Christian images in Yoruba indigenous forms. This opposition, which has led to the rejection and subsequent removal of artworks that formerly adorned the three Lagos churches is contextualized in interviews with the parish priests of these three churches. It is argued that Nigerian art is rich in signs and symbols due to its multi-ethnic, diverse culture and religious beliefs and proposes that the Oye-Ekiti Christian Art Workshop was necessary because it promoted indigenous art as a potential cultural vehicle for Christian liturgy in Nigeria.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"230 - 254"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46219486","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}
Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2116163
C. Hille
The academic career of Munich art historian Max Loehr (Fig. 1) tells a story of personal migration, of transcending the boundaries between disciplines, of the exodus of East Asian art history from Germany between the two world wars. Unlike the overwhelming majority of his peers, however, in 1940 Loehr initially moved not to the United States but east: to the Republic of China under Chiang Kai-shek. After almost ten years spent researching and teaching in Beijing, he was forced to leave the country on the eve of the takeover by Mao Tse-tung and his Communist Party. In 1951, via Hong Kong, Paris, and, for another Translated by Richard George Elliott from German
{"title":"Max Ernst Loehr (1903–88): Principles of a Chinese Art History in Munich","authors":"C. Hille","doi":"10.1080/17561310.2022.2116163","DOIUrl":"https://doi.org/10.1080/17561310.2022.2116163","url":null,"abstract":"The academic career of Munich art historian Max Loehr (Fig. 1) tells a story of personal migration, of transcending the boundaries between disciplines, of the exodus of East Asian art history from Germany between the two world wars. Unlike the overwhelming majority of his peers, however, in 1940 Loehr initially moved not to the United States but east: to the Republic of China under Chiang Kai-shek. After almost ten years spent researching and teaching in Beijing, he was forced to leave the country on the eve of the takeover by Mao Tse-tung and his Communist Party. In 1951, via Hong Kong, Paris, and, for another Translated by Richard George Elliott from German","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"255 - 268"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43437569","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}
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