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Full-Text Articles in Arts and Humanities
The Aesthetic Legacy Of Evolution: The History Of The Arts As A Window Into Human Nature, Aaron Kozbelt
The Aesthetic Legacy Of Evolution: The History Of The Arts As A Window Into Human Nature, Aaron Kozbelt
Publications and Research
No abstract provided.
Weaving Forms Of Resistance: The Museo De La Solidaridad And The Museo Internacional De La Resistencia Salvador Allende, Carla Macchiavello Cornejo
Weaving Forms Of Resistance: The Museo De La Solidaridad And The Museo Internacional De La Resistencia Salvador Allende, Carla Macchiavello Cornejo
Publications and Research
From the starting point of a 1975 artwork made by Norwegian artist Kjartan Slettemark in Sweden to stop a tennis match in resistance to the Chilean military dictatorship, this article reframes the linear image of networks of solidarity and resistance through the gaps and connectivity of a mesh. It expands the figure of the mesh taken from critical materialism into the affective realm of art, historiography, and art institutions by exploring the cases of the museums Museo de la Solidaridad (1971–1974) and Museo Internacional de la Resistencia “Salvador Allende” (1975–1990). As this article delves into various knots and lacunas of …
Bridging The Research/Teaching Divide With Dah And Sotl-Ah, Renee Mcgarry, Virginia B. Spivey Phd
Bridging The Research/Teaching Divide With Dah And Sotl-Ah, Renee Mcgarry, Virginia B. Spivey Phd
Publications and Research
This paper explores the potential for rigorous pedagogical scholarship to complement developments in digital art history (DAH). In addition to introducing ideas and methods that characterize scholarship of teaching and learning (SOTL) in higher education, we focus on two major themes: how digital tools and techniques can support robust scholarship of teaching and learning in art history (SoTL-AH) and ways that SoTL-AH can be used to evaluate and demonstrate the impact of DAH projects in the classroom and the public realm. Our goal is to encourage greater exchange between these two emerging fields that can together advance art historical study.
Book Review Of A. Victor Coonin, From Marble To Flesh: The Biography Of Michelangelo’S David, Sandra Cheng
Book Review Of A. Victor Coonin, From Marble To Flesh: The Biography Of Michelangelo’S David, Sandra Cheng
Publications and Research
Beginning of Book Review:
“What makes an icon?” is the underlying question of A. Victor Coonin’s book dedicated to Michelangelo’s statue of David. The larger-than-life-size David has a status akin to Leonardo’s Mona Lisa. Its image, whether whole or fragmented, is instantaneously recognizable, making it difficult to look at it afresh, but Coonin manages to reflect on well-trodden ground in a captivating manner. This study demonstrates how the David is more than an embodiment of masculinity but a statue imbued with multi-faceted symbolism that continues to resonate with viewers today.
The Cult Of The Monstrous: Caricature, Physiognomy, And Monsters In Early Modern Italy, Sandra Cheng
The Cult Of The Monstrous: Caricature, Physiognomy, And Monsters In Early Modern Italy, Sandra Cheng
Publications and Research
Caricature emerged as a pictorial genre in early modern Italy and became a potent form of social satire practiced by the period’s foremost draftsmen, including the Carracci and Guercino. The deformed and misshapen subjects of caricature drawings coincided with a fascination with monstrosity. Monsters, aberrations, and anomalies reflected a cultural appreciation for the curious. The monster that slowly took shape in scientific literature was first alluded to in comparative physiognomic texts that related man to beast, then made brief appearances in the discourse on medical conditions, and finally became the primary focus of specialty publications. The attention given to physical …
Review Of 1900: Art At The Crossroads, Antoni Pizà
Review Of 1900: Art At The Crossroads, Antoni Pizà
Publications and Research
There is probably little doubt that the fissure between "high" and "low" culture is more conspicuous nowadays than it ever was. Clement Greenberg, that dashing arbiter of contemporary art, had already sensed it in 1939 when he wrote the seminal essay quoted above, as Adorno also perceived it decades before him. Their foreboding premonitions, however, could not hinder the relentless success of popular culture and the retreat of so-called high art into the safe harbors of the university campus, the museum, and the private sphere.