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Articles 1 - 11 of 11
Full-Text Articles in Arts and Humanities
Les Rues Des Tableaux. Géographie Du Marché De L'Art Parisien (1815-1955), Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
Les Rues Des Tableaux. Géographie Du Marché De L'Art Parisien (1815-1955), Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
Artl@s Bulletin
Continuation of a first socioeconomic analysis of the "art dealers" in Paris between 1815 and 1955 (Artl@s Bulletin 2, no. 2), this paper presents the results of a spatial study of the Parisian art market at that time. Departing from serial geographical data given by a homogeneous source, the Bottin du commerce, we mapped a 140 years spatial evolution of the "art dealers", using a geocoding system with composite locators. The article exposes the spatial dynamics of this market and studies them in a multi-scalar way, making the connection between the global evolution of the Parisian economy and …
A Research-Based Model For Digital Mapping And Art History: Notes From The Field, Paul B. Jaskot, Anne Kelly Knowles, Andrew Wasserman, Stephen Whiteman, Benjamin Zweig
A Research-Based Model For Digital Mapping And Art History: Notes From The Field, Paul B. Jaskot, Anne Kelly Knowles, Andrew Wasserman, Stephen Whiteman, Benjamin Zweig
Artl@s Bulletin
Most digital mapping in art history today divides the research process from the visualization aspects of the project. This problem became the focus of a summer institute that Paul Jaskot and Anne Kelly Knowles ran at Middlebury College with the support of the Samuel H. Kress Foundation. Our article both reports on the institute and suggests how research questions can complement digital mapping methods. We conclude with three case studies of spatial questions in art history and discuss the Fellows’ use of GIS to explore examples from Qing Dynasty China, medieval Gotland, and contemporary New York City.
Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel
Provincializing Paris. The Center-Periphery Narrative Of Modern Art In Light Of Quantitative And Transnational Approaches, Béatrice Joyeux-Prunel
Artl@s Bulletin
The alternative “centre‐periphery” is essential to the myth of modern art and its historiography. Even though Postcolonial studies have denounced the implications of such geopolitical hierarchies, as long as our objects remain centred on one capital city and within national boundaries, it will be difficult to escape the hierarchical paradigm that makes Paris and New York the successive capital cities of Modernism. This paper highlights how approaches focusing on different scales of analysis—from the quantitative and geographic to the monographic—challenge the supposed centrality of Paris through 1945.
Change Over Time: Neatline And The Study Of Architectural History, Lisa A. Reilly
Change Over Time: Neatline And The Study Of Architectural History, Lisa A. Reilly
Artl@s Bulletin
This article discusses how the usual study of architecture from the perspective of a single moment in time, usually the moment of its creation is limiting. New methodologies make it possible to add to the current rich variety of approaches available to the architectural historian in order to consider the dynamic history of the forms we study. This problem can be resolved in part through the use of digital tools, in particular Neatline, (www.neatline.org) which allows the viewer to see and understand how a building changes over time.
Towards A Spatial (Digital) Art History, Catherine Dossin
Towards A Spatial (Digital) Art History, Catherine Dossin
Artl@s Bulletin
Among the numerous possibilities offered by the Digital Humanities, digital mapping is certainly among the most promising for art history. It is a rather simple yet efficient way to explore the large amount of data and databases which are available to the discipline but that are often underutilized. New mapping technologies allow us to work with art history’s big data serially and spatially, and to diffuse the result of our research through attractive and compelling visualizations.
Introduction: Highways Of The South, Daniel R. Quiles
Introduction: Highways Of The South, Daniel R. Quiles
Artl@s Bulletin
This introduction serves as a brief overview of this guest-edited issue of Artl@s Bulletin, which is dedicated to international networks in modern and contemporary Latin American art. Following a brief synopsis of the history of the field’s methodologies related to circulation, the articles that appear in this issue are summarized and compared. The author argues that a network- or circulation-based focus invariably incorporates heterogenous, even oppositional criteria.
All Creative Being: Interview With Anna Bella Geiger, Sarah Poppel
All Creative Being: Interview With Anna Bella Geiger, Sarah Poppel
Artl@s Bulletin
In the following interview with Anna Bella Geiger, the Brazilian artist talks about her trajectory and various influences, which have always been deeply marked by the lived situation in Brazil, especially during the dictatorship (1964-1985). Starting with the beginnings of her artistic practice in the early 1950s, she details her affiliation with abstract art, her view of the Brazilian art scene during the 1950s and 1960s and reveals the roots of her topographic works and the importance of her pedagogical experiences.
Vectors Or Constellations? Curatorial Narratives Of Latin American Art, Camila Maroja, Abigail Winograd
Vectors Or Constellations? Curatorial Narratives Of Latin American Art, Camila Maroja, Abigail Winograd
Artl@s Bulletin
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region’s historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais’s desire to create an autochthonous historiography versus Ramírez and Olea’s wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.
Contrabienal: Latin American Art, Politics And Identity In New York, 1969-1971, Aimé Iglesias Lukin
Contrabienal: Latin American Art, Politics And Identity In New York, 1969-1971, Aimé Iglesias Lukin
Artl@s Bulletin
This article focuses on a community of Latin American artists living in New York and the influence of regionalism and politics in their identification as a group, taking up the case of the Contrabienal, an art book published in 1971 as a call to boycott the XI São Paulo Biennial in protest of censorship and torture in dictatorial Brazil. The book was aesthetically eclectic and included artists from different generations. Still, its organizers were all part of the strong shift towards Conceptualism then taking place. In light of the current revision of the Latin American Conceptualism canon, this article …
Vida Americana, 1919-1921. Redes Conceptuales En Torno A Un Proyecto Trans-Continental De Vanguardia, Natalia De La Rosa
Vida Americana, 1919-1921. Redes Conceptuales En Torno A Un Proyecto Trans-Continental De Vanguardia, Natalia De La Rosa
Artl@s Bulletin
Este artículo analiza los orígenes cosmopolitas de la revista Vida-Americana, organizada en 1921 por el pintor mexicano David Alfaro Siqueiros. Se reflexiona sobre el concepto de universalismo y clasicismo artístico señalando las conexiones que Siqueiros tuvo en Barcelona con Joan Salvat-Papasseit, Joaquín Torres-García, Rafael Barradas, Diego Rivera, Marius de Zayas y Élie Faure. El estudio explica la alternativa que Siqueiros señaló para el desarrollo de nuevos centros de producción artística en América. El estudio presenta la unificación continental que el artista ideó desde la reflexión del impacto tecnológico en la modernidad, tomando como base la realización del dibujo Retrato …
Crossing The Atlantic: Emilio Pettoruti's Italian Immersion, Lauren A. Kaplan
Crossing The Atlantic: Emilio Pettoruti's Italian Immersion, Lauren A. Kaplan
Artl@s Bulletin
The painter Emilio Pettoruti (1892-1971) was born to Italian parents in the Argentine province of La Plata. In 1913, he sailed to Florence for artistic training and remained in Europe for eleven years. This article focuses on this formative stint, during which Pettoruti studied Quattrocento masters, conferred with Italian Futurists, and met French Cubists. Ultimately, the painter became a paragon of civiltá italiana, a cosmopolitan culture born in Italy but meant for global dissemination. Upon returning to Buenos Aires in 1924, he exposing the Argentine public to this culture, strengthening the already robust bond between the two countries.