History of Art, Architecture, and Archaeology Commons^™

63 | Jerusalem: Western Wall Plaza Excavations Volume I The Roman And Byzantine Remains: Architecture And Stratigraphy, Shlomit Weksler-Bdolah, Alexander Onn

IAA Reports—Monograph Series of the Israel Antiquities Authority

This is the first volume in a series describing the results of salvage excavations conducted in the northwestern part of the Western Wall Plaza. Despite the fact that the Old City of Jerusalem has been continuously investigated during the last 150 years, it is the first time that this area, located c. 100 m west of the Temple Mount, has been excavated and thus, the results are of great significance. This volume describes our excavations that descended to bedrock, exposing 15 strata that span 2700–2800 years, from the Late Iron Age quarries to the Roman and Byzantine Eastern Cardo, its …

Arth 1104 Art Of The Us, Syllabus, Fall 2019, Martha Hagood

Open Educational Resources

No abstract provided.

An Unlikely Pair: Impressionism And The Work-Life Interface, Emily N. Roush

Student Publications

When I get asked what I am studying in college, I often get puzzled or confused replies due to the fact that the fields are pretty unconventional as a pairing. The remarks, “What in the world are you going to do with that?” or “How interesting,” are common responses after sharing. Organization and management studies and art history are an unlikely duo that seem to be vastly different at first glance. After taking many courses within both disciplines to fulfill my double major, I argue that these disciplines are more similar than one may initially assume. Thus, I was inspired …

Asakusa ~ Gateway To The Floating World (2019), Theory & History Of Art & Design Department, Elena Varshavskaya (H791 Instructor)

Ukiyo-e Prints Course | Exhibition Catalogs

"Asakusa, a bustling district of Japan’s capital, emerged as a heart of city life during the Edo period (1603-1868). Its popularity continued after Edo was renamed Tokyo in 1868 soon after the beginning of the Meiji era. ...

Thus, Asakusa came to function as a physical and metaphorical path to and site of ukiyo – ‘the floating world,’ an Edo period term, referring to the modern habits and aspirations of townspeople. The notion of ukiyo embraced the lifestyle of city dwellers, their pleasure-seeking, vanity and devotion, intellectual sophistication and playfulness. All this was captured with remarkable exactitude in the ‘pictures …

Haa 372 World Cities: Cairo, Mother Of The World, Mark Delancey

Course Website Archive

This course will examine the urban development and architectural heritage of Greater Cairo, Egypt since the reconstruction of the fortress of Babylon in the Roman period, through the establishment of Cairo itself in 969, and until the present. Cairo has always been a crossroads of cultures, set between Africa, Europe, and the Middle East. It has been home to significant Jewish, Christian and Muslim populations who have been impacted by the various ruling dynasties who have held sway there, including the Byzantines, early Islamic rulers, Tulunids, Shi'i Fatimids, and later Sunni Ayyubids, Mamluks, and Ottomans. In the 20th century, rapid …

¿Historia Y Cultura Al Viento? Los Efectos De La Construcción Del Aeropuerto Internacional De Chinchero En El Patrimonio Arqueológico Circundante, Becca Teachey

Independent Study Project (ISP) Collection

Durante los últimos 40 años, el gobierno del Perú ha hablado de construir un nuevo aeropuerto internacional en Chinchero, Perú. Chinchero es una ubicación perfecta debido a su proximidad a numerosos sitios turísticos y su gran cantidad de tierra que tiene el potencial de servir como un sitio de construcción. Sin embargo, Chinchero también es conocido por su riqueza en historia, belleza natural y ruinas arqueológicas del imperio inca. Con la construcción de un nuevo aeropuerto internacional en Chinchero, el patrimonio cultural y la integridad de la arqueología allá están en peligro. Se dice que el aeropuerto atraerá más turistas …

Modest, Modern, Molly Mcclain

History: Faculty Scholarship

This article looks at the mid-century modern houses built by architect Russell Forester in the Scripps Estates Associates in La Jolla, California.

Economic Provenance: The Financial Analysis Of Art Historical Records, Amy C. Whitaker

Journal of Contemporary Archival Studies

The Leo Castelli Gallery launched pivotal mid-twentieth-century artistic careers, including those of Jasper Johns and Robert Rauschenberg. Although well-studied for its artistic impact, the Castelli archives—as well as those of other gallery artists such as Frank Stella and early collectors such as Burton and Emily Hall Tremaine—include a curious trove of artists’ financial records and related correspondence. This paper argues that these records form an “economic provenance” that is important both to both art market analysis and art history. This economic context is sometimes overlooked because of the contested relationship between art and markets. In this context, the archive can …

Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond

Art Faculty Articles and Research

This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Church of the “Savior Not Made by Hands” at Abramtsevo in 1880–81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was …

Like Night And Day: Pavel Florenskiĭ, Igor’ Grabar’, And The Fate Of Icons In The 1920s, Wendy Salmond

Art Faculty Books and Book Chapters

"The preservation of medieval icons in the early years of Soviet power is deservedly considered one of the cultural triumphs of that iconoclastic period, when the very future of icons hung precariously in the balance. The nationalization of church property, the dissolution or destruction of so many monasteries and churches, and the pervasive mood of iconoclasm that followed the Bolshevik Revolution placed Russia’s most important icons in a precarious position. Their survival depended on the efforts of a small group of scholars and restorers operating under the aegis of NARKOMPROS’s museum and conservation wing (Glazmuseĭ in its various iterations; later …

Rome Vaut Bien Un Prix. An Artistic Elite In The Service Of The State: The Pensionnaires Of The Académie De France In Rome, 1666-1968, Annie Verger

Artl@s Bulletin

The Dictionnaire biographique des pensionnaires de l’Académie de France à Rome serves as a register for the artists sent to Italy by the French state from the time of Louis XIV in 1666 up until the abolition of the Prix de Rome concours in 1968. After this year, the selection of pensionnaires nonetheless continued this tradition in another form, and the Académie de France in Rome thus celebrated its 350^th anniversary in 2016. This notion of continuity lies at the heart of the present study, which has been carried out over a number of years.

The dictionary was published …

Rome Vaut Bien Un Prix. Une Élite Artistique Au Service De L’État : Les Pensionnaires De L’Académie De France À Rome De 1666 À 1968, Annie Verger

Artl@s Bulletin

Le Dictionnaire biographique des pensionnaires de l’Académie de France à Rome a essentiellement pour objet le recensement du groupe des praticiens envoyés en Italie par l’État, depuis Louis XIV en 1666 jusqu’à la suppression du concours du Prix de Rome en 1968. Le recrutement des pensionnaires n’ayant pas cessé après cette date, en dépit des changements de régimes politiques, de théories esthétiques et de conditions de production, l’institution a fêté son 350ème anniversaire en 2016. Cette continuité est au principe même de l’étude engagée depuis plusieurs années. Cet article se propose de présenter les premiers résultats rendus possibles par l’étude …

Une Rencontre Manquée : Confrontation, Défiance Et Stéréotypes Entre Suds Dans Milano, Fin Qui Tutto Bene De Gabriella Kuruvilla, Nicola Brarda

Artl@s Bulletin

Tony, a Milanese youngster of Neapolitan descent, encounters an Egyptian migrant, Samir, in a bar. Tony is drunk and Samir steals his mobile phone. This episode is narrated briefly in two chapters of Gabriella Kuruvilla’s novel Milano, fin qui tutto bene. We will try to analyze, within this misunderstanding, the ways in which the novel questions the apparent homogeneity of the notion of South, by staging the collision between two distinct Souths within the city : the South embodied by former generations of migrants originating from the Mezzogiorno, as opposed to new migrants coming from the global South.

The Dilemmas Of African Diaspora In The Global Art Discourse, Sabrina Moura

Artl@s Bulletin

In this paper, I explore how the notion of African diaspora has been used as a framework for the reassessment of essentialized identity narratives in field of art history and curatorship, between the1980s and 2000s. For this, I examine the emergence of the concept in the field of cultural studies and how it served as a tool for unsettling the narratives of belonging associated to nation and ethnicity. Such contextualization provides the ground for the analysis of the dilemmas introduced by a diasporic perspective in relation to the field of African art and the local-global art discourse.

Infidelity As Reality: Re-Staging The Global South With Abbas Kiarostami’S Close-Up, Sinan Richards

Artl@s Bulletin

In this article, we contend that, in the fields of art and visual culture, the Global South is both an elaborate lie and a radical opportunity for transformation. We investigate Kiarostami’s Close-up alongside Lacan’s psychoanalysis to show how Close-up’s filmic narrative evokes the same ‘polyvalence’ and ‘slipperiness’ as the notion of the Global South. We argue that Kiarostami’s Close-up retroactively changed Sabzian’s fate, and in so doing, Kiarostami’s re-staging actively overwrites History itself. We read the same narrative move in the concept of the Global South to suggest that the Global South adopts the Kiarostamian strategy of infidelity as reality …

Parler Des Suds : Le Défi De Caliban, Béatrice Joyeux-Prunel, Roland Béhar

Artl@s Bulletin

Depuis les années 1990, voire 2000, une nouvelle dimension s'est imposée dans la lecture des productions culturelles contemporaines. Elle rompt avec la logique Orient-Occident puis Est/Ouest, qui avait été jusque-là celle du « monde connu ». De nombreux auteurs, artistes, écrivains et théoriciens ont mis en évidence la notion de Sud pour montrer combien la puissance du monde Nord-Atlantique reposait, depuis les premières vagues de colonisation, sur une relation inégale entre Nord et Sud, au détriment du Sud. Cette notion, jusqu’à celle de « Sud Global », irrigue de nombreux débats sans que pour autant l’on discrimine plus précisément comment …

Harlem And Abroad: Notes To An International 'Renaissance', Joshua I. Cohen

Publications and Research

Like other intractable figures of the Harlem Renaissance, the movement’s visual artists sometimes exceeded their expected parameters, and thus their anticipated representativeness of a locality. Their images, in other words, did not automatically disclose Harlem-bound or even US-bound concerns. Now familiar through continual reproduction in exhibition catalogues, scholarly monographs and literary compendia, certain artworks from the period – such as Archibald J. Motley’s Blues (1929; Figure 1) and Aaron Douglas’s Congo (c. 1928; Figure 2) – subverted any definition of the Harlem Renaissance that would hinge on a narrowly delimited urban geography or national imaginary. Motley, who painted ‘Blues’ during …

A Series Of Acts That Disappear: The Valparaíso School’S Ephemeral Architectures, 1952–1982, Elizabeth Rose Donato

Dissertations, Theses, and Capstone Projects

In 1952, Chilean architect Alberto Cruz (1917–2013) and Argentine poet Godofredo Iommi (1917–2001) launched one of the most idiosyncratic experiments in postwar art and architectural pedagogy in the industrial port of Valparaíso, Chile. Founded on the premise that architecture must be “co-generada” with poetry, the so-called Valparaíso School developed an expanded conception of the discipline that encompassed ephemeral forms, from urban drifting to performative and ludic actions. This dissertation examines four specific “acts” in the Valparaíso School’s corpus: the exhibition, the poetic act, the journey, and the game. Across these different forms, I identify a tendency toward openness, improvisation, indeterminacy, …

Claiming The Remains Of The Past: The Return Of Cultural Heritage Objects To Colombia, Mexico, And Peru, Pierre Losson

Dissertations, Theses, and Capstone Projects

My research explores the reasons why three Latin American states (Colombia, Mexico, and Peru) claim the return of cultural heritage objects from holding institutions in the Western World, such as museums and universities. The literature on returns and restitutions, which focuses on questions of ownership and possession of objects, opposes two conceptions of cultural heritage: on the one hand, the internationalists argue that the location of a cultural object must be decided according to the interests of science and education, for the benefit and in the name of humankind; on the other hand, the nationalists consider that cultural heritage is …

Gendered Subjectivity And Resistance: Brazilian Women’S Performance-For-Camera, 1973–1982, Gillian Sneed

Dissertations, Theses, and Capstone Projects

This dissertation considers the work of a group of women artists in Brazil during the period of the military dictatorship (1964–1985), working in the genre of “performance-for-camera” (i.e., performance for film and video, rather than for a live audience). The artists are Lygia Pape (1927–2004), Letícia Parente (1930–1991), Anna Bella Geiger (b. 1933), Sonia Andrade (b. 1935), Anna Maria Maiolino (b. 1942), and Regina Vater (b. 1943). Some of these women were friends and colleagues who collaborated with each other; all of them contributed significantly to the development of film and video art in Brazil. Their works share an impulse …