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Articles 1 - 30 of 342
Full-Text Articles in Arts and Humanities
Book Review Of Visual Voyages: Images Of Latin American Nature From Columbus To Darwin. Daniela Bleichmar, New Haven: Yale University Press, 2017, Latin American And Latinx Visual Culture, Volume 1, No. 2, April 2019, 134-135., Amy Buono
Amy Buono
No abstract provided.
Tactile Translucence: Miró, Leiris, Einstein, Charles J. Palermo
Tactile Translucence: Miró, Leiris, Einstein, Charles J. Palermo
Charles Palermo
No abstract provided.
André Masson: Into The ‘Humus Humaine, Charles J. Palermo
André Masson: Into The ‘Humus Humaine, Charles J. Palermo
Charles Palermo
Much of how World War I is understood today is rooted in the artistic depictions of the brutal violence and considerable destruction that marked the conflict. Nothing but the Clouds Unchanged examines how the physical and psychological devastation of the war altered the course of twentieth-century artistic Modernism. Following the lives and works of fourteen artists before, during, and after the war, this book demonstrates how the conflict and the resulting trauma actively shaped artistic production. Featured artists include Georges Braque, Carlo Carrà, Otto Dix, Max Ernst, George Grosz, Ernst Ludwig Kirchner, Oskar Kokoschka, Käthe Kollwitz, Fernand Léger, Wyndham Lewis, …
Even More Neoliberal Art History: Globalizing Art History, Charles J. Palermo
Even More Neoliberal Art History: Globalizing Art History, Charles J. Palermo
Charles Palermo
No abstract provided.
Review Of Picasso, Braque And Early Film In Cubism, Charles J. Palermo
Review Of Picasso, Braque And Early Film In Cubism, Charles J. Palermo
Charles Palermo
No abstract provided.
Reflections On The Red Sea Style: Beyond The Surface Of Coastal Architecture, Nancy Um
Reflections On The Red Sea Style: Beyond The Surface Of Coastal Architecture, Nancy Um
Nancy Um
In 1953, a British architect named Derek H. Matthews introduced the idea of “The Red Sea Style” in print, with a modest article of that title. Although brief and focused on a single site, this article proposed that the architecture around the rim of the Red Sea could be conceived of as a coherent and unified building category. Since then, those who have written about Red Sea port cities have generally accepted his suggestion of a shared architectural culture. Indeed, the houses of the region’s major ports, such as Suakin in modern-day Sudan, Massawa in Eritrea, Jidda and YanbuΚ al-BaΉr …
Spatial Negotiations In A Commercial City: The Red Sea Port Of Mocha, Yemen During The First Half Of The Eighteenth Century, Nancy Um
Nancy Um
The city of Mocha in Yemen was one of the most important Red Sea ports of the early modern Arab world, handling the trade of spices, textiles, metals, local aromatics and coffee beans. This essay examines the urban structures that governed the needs and practices of merchants in the city during the first half of the eighteenth century. Drawing on contemporary Arabic chronicles, archival European trade documents, historical photographs, and field work in the city, it documents the conspicuous absence of a network of public trade structures, like the urban khan, the expected locus for trade in an Arab city …
Shipped But Not Sold: Material Culture And The Social Protocols Of Trade During Yemen’S Age Of Coffee, Perspectives On The Global Past Series. Honolulu: University Of Hawai’I Press, 2017., Nancy Um
Nancy Um
No abstract provided.
“Mocha: Maritime Architecture On Yemen’S Red Sea Coast.” In ‘Architecture That Fills My Eye’: The Building Heritage Of Yemen. Exh. Cat. Ed. Trevor H.J. Marchand, 60-69. London: Gingko Library, 2017., Nancy Um
Nancy Um
No abstract provided.
“1636 And 1726: Yemen After The First Ottoman Era.” In Asia Inside Out: Changing Times, Vol. 1. Ed. E. Tagliacozzo, H. Siu, And P. Purdue, 112-34. Cambridge, Ma: Harvard University Press, 2015., Nancy Um
Nancy Um
No abstract provided.
From The Port Of Mocha To The Eighteenth-Century Tomb Of Imam Al-Mahdi Muhammad In Al-Mawahib: Locating Architectural Icons And Migratory Craftsmen, Nancy Um
Nancy Um
This article introduces and analyzes the tomb of the Qāsimī Imām al-Mahdī Muhammad (r. 1686-1718) in the village of al-Mawāhib, northeast of Dhamār. Unlike many of the mosques and tombs associated with the other Zaydī imams of Yemen, al-Mahdī’s mausoleum has never been published, but merits close examination. While most historians consider his imamate to have been an era of both religious and political decline, this period was marked by increased cross-cultural interaction and artistic production. In particular, the tomb of al-Mahdī features unique decoration above its mihrāb and a remarkable wooden cenotaph. In order to explain the meaning and …
Greenlaw’S Suakin: The Limits Of Architectural Representation And The Continuing Lives Of Buildings In Coastal Sudan, Nancy Um
Nancy Um
Despite its ruined modern state, the coral-built architecture of the island city of Suakin on Sudan's Red Sea coast is well known to scholars of vernacular architecture. Its enduring reputation may be attributed to the copious documentation of its houses, mosques, and public buildings that appeared in the 1976 publication The Coral Buildings of Suakin by the artist Jean-Pierre Greenlaw. This paper considers the visual project of Greenlaw and its legacy, with a focus on the intertwined relationship between the processes of architectural documentation, the writing of architectural history, and the directives of preservation during the last years of British …
"Port Biography: Mocha," Encyclopedia Of Maritime History . Ed. John Hattendorf. 4 Vols. (New York:Oxford University Press, 2007), 2:580-81., Nancy Um
Nancy Um
No abstract provided.
Moving Vision: Anne Truitt, Paintings 1972-1991, Michael Schreyach
Moving Vision: Anne Truitt, Paintings 1972-1991, Michael Schreyach
Michael Schreyach
No abstract provided.
Picturing A Landscape For The Faithful: Topographical Views In The "Dalail Al-Khayrat," A 15th-Century Muslim Prayer Book, Roberta L. Dougherty
Picturing A Landscape For The Faithful: Topographical Views In The "Dalail Al-Khayrat," A 15th-Century Muslim Prayer Book, Roberta L. Dougherty
Roberta L. Dougherty
No abstract provided.
Among The Ancestors At Aidonia, Lynne Kvapil, Kim Shelton
Among The Ancestors At Aidonia, Lynne Kvapil, Kim Shelton
Lynne A. Kvapil
No abstract provided.
Helen Frankenthaler’S Gravity, Michael Schreyach
Helen Frankenthaler’S Gravity, Michael Schreyach
Michael Schreyach
Helen Frankenthaler, like other painters of her generation, was compelled to come to terms with the technical and philosophical modes of Abstract Expressionism's gestural practice. Responding to Pollock's black-and-white paintings of 1951, she evolved a technique of staining raw, unsized canvas with thinned acrylic pigments that became her hallmark and a formative influence on many other painters, including Morris Louis and Kenneth Noland. The method yielded paintings whose images appeared indivisible from their canvas grounds because colors were soaked directly into the surface. Moreover, since the technique de-emphasized the touch of the artist, it potentially renounced Abstract Expressionism's painterly gesture.
Seeing Noland’S Feeling, Michael Schreyach
Seeing Noland’S Feeling, Michael Schreyach
Michael Schreyach
Kenneth Noland's paintings—whether his target-like compositions and their elliptical variations of the late 1950s and early 1960s; his midcareer chevrons, diamonds, and elongated horizontal bands; or his irregular polygon-shaped canvases of the 1970s—exhibit the artist's formal solutions to some notoriously difficult pictorial problems, specifically those generated by the complex interrelationships between shape and color.
David Smith's Equivalence, Michael Schreyach
David Smith's Equivalence, Michael Schreyach
Michael Schreyach
Artists of David Smith's generation often sought to produce artworks that challenged the conventions of artistic "expression" and the expectations—technical, formal, psychological, interpretative—that accompanied them. Smith (like his contemporaries Stuart Davis, Willem de Kooning, and Arshile Gorky) was one of a group of artists whose formal innovations were guided both by a desire to align themselves with avant-garde art and by a pressing need to distance themselves from European affiliation. In Barnett Newman's words, these artists wanted to liberate themselves from "the impediments . . . of Western European painting" in order to "create images whose reality is self-evident and …
Unity And Continuity In Jon Lee’S Abstract Woodblock Prints, Michael Schreyach
Unity And Continuity In Jon Lee’S Abstract Woodblock Prints, Michael Schreyach
Michael Schreyach
No abstract provided.
The Crisis Of Jackson Pollock’S Mural As A Painting, Michael Schreyach
The Crisis Of Jackson Pollock’S Mural As A Painting, Michael Schreyach
Michael Schreyach
Critics frequently describe Pollock’s allover painted fields, especially those he began producing after 1947, as absorbing or engulfing the viewer, occasioning a sensation of being immersed within an all-encompassing visual environment. His paintings are said to establish so powerful a continuity between viewer and painting that the distinction between them collapses, generating a feeling of what the psychologist Anton Ehrenzweig notoriously described as “undifferentiated oceanic envelopment.”1 Pollock’s works, he continued, “enveloped the spectator inside the picture plane,” producing a “manic experience of mystic oneness.”2 In them, “pictorial space advances and engulfs [the viewer] in a multi-dimensional unity where …
‘I Am Nature’: Science And Jackson Pollock, Michael Schreyach
‘I Am Nature’: Science And Jackson Pollock, Michael Schreyach
Michael Schreyach
An attempt has been made to determine the authenticity of some newly discovered paintings that may be by Jackson Pollock on the basis of a belief that his art incorporates fractal patterns seen in the natural world. This is only the latest in a long line of interpretations of his works in terms of references to nature, as Michael Schreyach discusses.
Fixed Ecstasy: Joan Miró In The 1920s, Michael Schreyach
Fixed Ecstasy: Joan Miró In The 1920s, Michael Schreyach
Michael Schreyach
No abstract provided.
Representing “Actuality”, Michael Schreyach
Representing “Actuality”, Michael Schreyach
Michael Schreyach
In an effort to challenge some prevailing assumptions surrounding the art of the painter Wols—whose work various critics in the late 1940s associated with the expression of existential unease—Alex Potts proposes that what Wols truly wished to convey was “a real sense of the substance of the world,” its “bare non-art materiality” (119–20). An anecdote supplied by the critic René Guilly on the occasion of Wols’s 1947 Paris exhibition provides some evidence for that contention, even as it reveals the artist’s feelings of inadequacy in the face of his task. Walking by a decomposing wall glimpsed through a pane of …
John Dewey And Art, Michael Schreyach
Intention And Interpretation In Hans Namuth's Film, Jackson Pollock, Michael Schreyach
Intention And Interpretation In Hans Namuth's Film, Jackson Pollock, Michael Schreyach
Michael Schreyach
Because many of Jackson Pollock's most familiar statements are multiply authored, they seem to challenge basic assumptions regarding the transparency of intention to meaning that they are often presumed to enunciate. The fact that Pollock's public declarations about his work are collages, juxtaposing different voices and points of view with his own, complicates our assessment of their validity as univocal expressions of his intentions. In his film Jackson Pollock, Namuth utilizes those statements, many of which concern aspects of Pollock's technical procedure, as part of his strategy to ground the meaning of Pollock's paintings in the processby which …
Meeting Spaces, Michael Schreyach
Meeting Spaces, Michael Schreyach
Michael Schreyach
Although in size and shape they more closely resemble traditional easel pictures than do some of his previous works—specifically those on uniquely fashioned supports, which patently display their constructed aspect, or his large-scale public commissions on concrete—Mark Schlesinger’s recent paintings nonetheless convey the impression, like those prior works, of having been built. Not only do the wooden frames upon which he mounts his canvases project his surfaces away from the wall at a noticeably greater distance than do conventional stretchers, but Schlesinger has made an effort to render his auxiliary supports conspicuous.
Re-Created Flatness: Hans Hofmann’S Concept Of The Picture Plane As A Medium Of Expression, Michael Schreyach
Re-Created Flatness: Hans Hofmann’S Concept Of The Picture Plane As A Medium Of Expression, Michael Schreyach
Michael Schreyach
For Hans Hofmann and Clement Greenberg, flatness--more specifically, “re-created flatness,” a term Greenberg adopted after hearing it used in the painter’s important 1938– 39 lectures--became a key term in their accounts of pictorial meaning. In this paper, I articulate what is significant about that idea and draw out its implications for understanding what Hofmann meant by artistic expression. Ultimately, I suggest that the concept of re-created flatness, and its pictorial realization, implies or entails a certain view of expression: namely, that what is expressed by an artwork is the artist’s meaning (in contradistinction to the arbitrary meanings that may be …
Pre-Objective Depth In Merleau-Ponty And Jackson Pollock, Michael Schreyach
Pre-Objective Depth In Merleau-Ponty And Jackson Pollock, Michael Schreyach
Michael Schreyach
Pollock’s drip technique generated certain unconventional representational possibilities, including the possibility of expressing the pre-reflective involvement of an embodied, intentional subject in a perceptual world. Consequently, Pollock’s art can be understood to explore or investigate the pre-objective conditions of reflective and intellectual consciousness. His painting—here I consider Number 1, 1949—motivates viewers to consider the relationship between intention and meaning as it appears in both primordial and reflective dimensions of experience. The account proceeds in three stages. First, I review key features of Merleau-Ponty’s concept of the pre-objective and attempt to clarify the reflexive nature of investigating it by considering his …
History And Desire: A Short Introduction To The Art Of Cy Twombly, Michael Schreyach
History And Desire: A Short Introduction To The Art Of Cy Twombly, Michael Schreyach
Michael Schreyach
This book is meant for readers (and viewers) searching for an introduction to the major themes of Twombly’s art, and for an explanation of the techniques by which he realized his intentions. It presents a developmental history of the artist’s achievement in various media (mostly painting, sculpture, and drawing). At the same time, it addresses certain issues that concern art historians more broadly, such as modern art’s relationship to the past.