Pub Date : 2020-07-02DOI: 10.1080/17561310.2020.1876825
Amelia Pavel, Jozefína Komporaly
Abstract A report on a colloquium art held in Bucharest in 1979n to accompany an exhibition on American art with works by Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Frank Stella, Robert Rauschenberg, Jasper Johns, Andy Warhol, David Smith, Louise Nevelson, and George Segal. In spite of the author’s insistence on “an open and receptive critical spirit, spanning a vast cultural horizon”, the reality was a clear absence of interaction: the American speakers spoke about US art, the Romanian hosts about Romanian art.
{"title":"The American Artist at Work: Romanian-American Colloquium on Art Criticism","authors":"Amelia Pavel, Jozefína Komporaly","doi":"10.1080/17561310.2020.1876825","DOIUrl":"https://doi.org/10.1080/17561310.2020.1876825","url":null,"abstract":"Abstract A report on a colloquium art held in Bucharest in 1979n to accompany an exhibition on American art with works by Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Frank Stella, Robert Rauschenberg, Jasper Johns, Andy Warhol, David Smith, Louise Nevelson, and George Segal. In spite of the author’s insistence on “an open and receptive critical spirit, spanning a vast cultural horizon”, the reality was a clear absence of interaction: the American speakers spoke about US art, the Romanian hosts about Romanian art.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"352 - 355"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1876825","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45582245","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 : 2020-07-02DOI: 10.1080/17561310.2020.1876824
Christian Bonnefoi, Susan de Muth
Abstract Focusing on the work of the Robert Ryman and with additional thoughts about Robert Motherwell, this text addresses co-called Analytic Abstraction in painting, for which it finds precedents in the Picasso’s collages and the Constructivism of László Moholy-Nagy.
{"title":"On the Destruction of the Surface Entity","authors":"Christian Bonnefoi, Susan de Muth","doi":"10.1080/17561310.2020.1876824","DOIUrl":"https://doi.org/10.1080/17561310.2020.1876824","url":null,"abstract":"Abstract Focusing on the work of the Robert Ryman and with additional thoughts about Robert Motherwell, this text addresses co-called Analytic Abstraction in painting, for which it finds precedents in the Picasso’s collages and the Constructivism of László Moholy-Nagy.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"345 - 351"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1876824","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44013713","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 : 2020-07-02DOI: 10.1080/17561310.2020.1876829
Anna Tilroe, Jan De Meyer
Abstract A review of a 1983 exhibition of photographs by Cindy Sherman held at the Stedelijk Museum, Amsterdam, in which the pictures are called Untitled Filmstills. The author of the review, Anna Tilroe, seeks to distinguish between the “reality” of Pop art and the abstractions of “reality” captured in Sherman’s staged images, in which the pose becomes a means of encoding emotions.
{"title":"The Staged Illusion","authors":"Anna Tilroe, Jan De Meyer","doi":"10.1080/17561310.2020.1876829","DOIUrl":"https://doi.org/10.1080/17561310.2020.1876829","url":null,"abstract":"Abstract A review of a 1983 exhibition of photographs by Cindy Sherman held at the Stedelijk Museum, Amsterdam, in which the pictures are called Untitled Filmstills. The author of the review, Anna Tilroe, seeks to distinguish between the “reality” of Pop art and the abstractions of “reality” captured in Sherman’s staged images, in which the pose becomes a means of encoding emotions.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"379 - 384"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1876829","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48721347","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 : 2020-07-02DOI: 10.1080/17561310.2020.1876827
Klaus Wilczynski, Richard Elliott
Abstract A report from the East German (German Democratic Republic) daily newspaper Berliner Zeitung on an exhibition of major works from the Gemäldegalerie Alte Meister (Old Masters Picture Gallery) in Dresden, which was shown in 1978–79 at three major US galleries, the National Gallery of Art in Washington, DC, the Metropolitan Museum of Art in New York City, and the Fine Arts Museum in San Francisco. It was one of the most tangible results of the Helsinki Accords of the Conference on Security and Co-operation in Europe (1973–75). The text reads like a travelogue, reporting on the author’s trip to San Francisco and the impact of the exhibition on the American audience and its understanding of the German Democratic Republic.
摘要东德（德意志民主共和国）日报《柏林日报》报道了德累斯顿Gemäldegalerie Alte Meister（老大师图片画廊）的主要作品展览，该展览于1978年至79年在美国三大画廊展出，即华盛顿特区的国家美术馆、纽约市的大都会艺术博物馆，以及旧金山的美术馆。这是欧洲安全与合作会议（1973-75年）《赫尔辛基协定》最具体的成果之一。文本读起来像一篇游记，报道了作者的旧金山之行，以及展览对美国观众的影响及其对德意志民主共和国的理解。
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Pub Date : 2020-07-02DOI: 10.1080/17561310.2020.1876831
J. Sans, Susan de Muth
Abstract A major exhibition of Julian Schnabel’s work was staged in the early months of 1987 at the National Museum of Modern Art in the Centre Pompidou in Paris, featured forty paintings and three sculptures. This review by Jérôme Sans gives a brief overview of Schnabel’s life and career, his discovery of both the European old masters—Cimabue, El Greco, Caravaggio—and new masters like Sigmar Polke, Joseph Beuys. Sans finds in Schnabel’s painting an affirmation that 1970s Minimalism had run its course.
{"title":"Julian Schnabel: The Myth Unfurls","authors":"J. Sans, Susan de Muth","doi":"10.1080/17561310.2020.1876831","DOIUrl":"https://doi.org/10.1080/17561310.2020.1876831","url":null,"abstract":"Abstract A major exhibition of Julian Schnabel’s work was staged in the early months of 1987 at the National Museum of Modern Art in the Centre Pompidou in Paris, featured forty paintings and three sculptures. This review by Jérôme Sans gives a brief overview of Schnabel’s life and career, his discovery of both the European old masters—Cimabue, El Greco, Caravaggio—and new masters like Sigmar Polke, Joseph Beuys. Sans finds in Schnabel’s painting an affirmation that 1970s Minimalism had run its course.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"397 - 401"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1876831","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46693683","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 : 2020-07-02DOI: 10.1080/17561310.2021.1876727
Françoise Choay, Richard Elliott
Abstract Written in response to Robert Rauschenberg’s first solo exhibition in Paris, this article describes some of the works on show and seeks to differentiate Rauschenberg’s work from that of Marcel Duchamp and Neo-Dada, and also from the production of the French Assemblage/Nouveau Réaliste artists. It predates Rauschenberg’s controversial success at the 1964 Venice Biennale, where he won the Grand Prize for the best foreign painting.
{"title":"Dada, Neo-Dada, and Rauschenberg","authors":"Françoise Choay, Richard Elliott","doi":"10.1080/17561310.2021.1876727","DOIUrl":"https://doi.org/10.1080/17561310.2021.1876727","url":null,"abstract":"Abstract Written in response to Robert Rauschenberg’s first solo exhibition in Paris, this article describes some of the works on show and seeks to differentiate Rauschenberg’s work from that of Marcel Duchamp and Neo-Dada, and also from the production of the French Assemblage/Nouveau Réaliste artists. It predates Rauschenberg’s controversial success at the 1964 Venice Biennale, where he won the Grand Prize for the best foreign painting.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"293 - 301"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2021.1876727","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41845547","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 : 2020-04-22DOI: 10.1080/17561310.2019.1690294
N. Foster
There is evidence of women artists producing art works throughout history, but often their work was attributed to their male guardian. However, in a remote rural area of south China women developed...
{"title":"Translating Nüshu: Drawing Nüshu, Dancing Nüshu","authors":"N. Foster","doi":"10.1080/17561310.2019.1690294","DOIUrl":"https://doi.org/10.1080/17561310.2019.1690294","url":null,"abstract":"There is evidence of women artists producing art works throughout history, but often their work was attributed to their male guardian. However, in a remote rural area of south China women developed...","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2019.1690294","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48740020","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 : 2020-04-02DOI: 10.1080/17561310.2020.1828729
I. Camps
Abstract Citizenship studies have been consolidated as a field of analysis since the 1950s, although debates about the conditions of citizenship status can be traced to earlier times. In this article I discuss how different notions of citizenship may be usefully applied to visual studies for thinking about colonialism and its legacies through the photographic image. Considering the photographic production relating to the final ten years of Spain’s colonial rule of Equatorial Guinea —from its conversion into a province (1958) until its independence (1968)—the article proposes citizenship as a key concept for a political analysis of images in which white Europeans and black Africans interact or which make racial segregation visible.
{"title":"Citizenship in Between. Looking for Methods to Visual Studies in Spanish Guinea during the Francoist Dictatorship","authors":"I. Camps","doi":"10.1080/17561310.2020.1828729","DOIUrl":"https://doi.org/10.1080/17561310.2020.1828729","url":null,"abstract":"Abstract Citizenship studies have been consolidated as a field of analysis since the 1950s, although debates about the conditions of citizenship status can be traced to earlier times. In this article I discuss how different notions of citizenship may be usefully applied to visual studies for thinking about colonialism and its legacies through the photographic image. Considering the photographic production relating to the final ten years of Spain’s colonial rule of Equatorial Guinea —from its conversion into a province (1958) until its independence (1968)—the article proposes citizenship as a key concept for a political analysis of images in which white Europeans and black Africans interact or which make racial segregation visible.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"246 - 262"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1828729","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46507989","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 : 2020-04-02DOI: 10.1080/17561310.2020.1791451
C. Stehrenberger
Abstract In 1988 plans to dump “toxic waste from Europe” on the island of Annobón were uncovered. This article analyzes the “slow disaster” these plans set into motion, revealing the ways in which it was made possible by the ongoing legacies of Francoist and other colonialisms. It explains how the Annobonese population was put at risk by the scheme and connects it to the 1966 nuclear incident of Palomares. Moreover, it demonstrates how the racist othering of Africa(ns)—which was a presupposition of the plan—was reproduced in some accounts of it published in Spanish and German print media.
{"title":"Annobón 1988. Slow Disaster, Colonialism, and the Franco Dictatorship","authors":"C. Stehrenberger","doi":"10.1080/17561310.2020.1791451","DOIUrl":"https://doi.org/10.1080/17561310.2020.1791451","url":null,"abstract":"Abstract In 1988 plans to dump “toxic waste from Europe” on the island of Annobón were uncovered. This article analyzes the “slow disaster” these plans set into motion, revealing the ways in which it was made possible by the ongoing legacies of Francoist and other colonialisms. It explains how the Annobonese population was put at risk by the scheme and connects it to the 1966 nuclear incident of Palomares. Moreover, it demonstrates how the racist othering of Africa(ns)—which was a presupposition of the plan—was reproduced in some accounts of it published in Spanish and German print media.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"263 - 287"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1791451","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43538628","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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