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Articles 1 - 6 of 6
Full-Text Articles in Art and Design
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
Artl@s Bulletin
What role did UNESCO play in the art world of the post-war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. This case study focuses on one particular aspect of the project, the “UNESCO Prize”, conceived by the Brazilian art critic and Marxist intellectual Mario Pedrosa for the 1953 São Paulo Biennial.
Extensive And Intensive Iconography. Goethe’S Faust Outlined, Evanghelia Stead
Extensive And Intensive Iconography. Goethe’S Faust Outlined, Evanghelia Stead
Artl@s Bulletin
Drawing on a corpus of printed items between countries, compared first-hand, the article examines the mark left by Moritz Retzsch’s 26 outline etchings after Goethe’s Faust (1816) using the distinction between extensive and intensive iconography. In extensive iconography, copied or imitated images build a collective imagination, devaluing the original work, albeit contributing to the play’s aura. That view challenges Walter Benjamin’s influential essay on “The Work of Art in the Age of Mechanical Reproduction” (1935). In intensive iconography, inventive artists, inspired by Retzsch, rework images, granting a particular scene genuine reinterpretation. How then should we value multiples, copies and genuine …
Out Of The Box: Hiraeth: The Nostalgia Within Abandoned Homes, Jessica Mcdaniel
Out Of The Box: Hiraeth: The Nostalgia Within Abandoned Homes, Jessica Mcdaniel
The Journal of Purdue Undergraduate Research
Student researcher Jessica McDaniel explains why abandoned houses obtained a reputation for horror, as well as how this fear is not all that remains in what were once homes.
Lumumba’S Iconography As Interstice Between Art And History, Matthias De Groof
Lumumba’S Iconography As Interstice Between Art And History, Matthias De Groof
Artl@s Bulletin
How does Congolese art and artistic representations of Lumumba “mediate past, present and future”? How do they relate to historical narratives and to the dialogues within the Global South? This contribution proposes Lumumba’s iconography as a case in point of the interstice between art and history. It positions the image of Lumumba as mediating between past, present and future for both the Congo and the Global South more broadly.
Digital Art History “Beyond The Digitized Slide Library”: An Interview With Johanna Drucker And Miriam Posner, Miriam Kienle
Digital Art History “Beyond The Digitized Slide Library”: An Interview With Johanna Drucker And Miriam Posner, Miriam Kienle
Artl@s Bulletin
Johanna Drucker and Miriam Posner were two of the organizers of the Getty/UCLA Summer Institute in Digital Art History “Beyond the Digitized Slide Library” that took place in the summers of 2014 and 2015. With their extensive expertise in the field, they developed a program that challenged participant to think about the broad theoretical implications of their respective projects and to gain practical tools in digital art history. In this interview, they will describe some of their thinking behind the institute and the state of the field of digital art history, including a discussion of the impact of network visualizations …
Between Nodes And Edges: Possibilities And Limits Of Network Analysis In Art History, Miriam Kienle
Between Nodes And Edges: Possibilities And Limits Of Network Analysis In Art History, Miriam Kienle
Artl@s Bulletin
This article examines a number of prominent network analysis projects in the field of art history and explores the unique promises and problems that this increasingly significant mode of analysis presents to the discipline. By bringing together projects that conceptualize art historical networks in different ways, it demonstrates how established theories and methods of art history—such as feminist and postcolonial theory—may be productively used in conjunction with quantitative/computational approaches to art historical analysis. It argues that quantitative analysis of art and its networks can expand the qualitative approaches that have traditionally defined the field, particularly if theorizing is not positioned …