History of Art, Architecture, and Archaeology Commons^™

The Exhibition Of Former Students Of The Elise Von Jung-Stilling Drawing School In Riga In 1904, Baiba Vanaga

Artl@s Bulletin

In the 19th century, the art scene in the Baltic provinces and their largest city, Riga, was fairly undeveloped: it was impossible to acquire good arts education, the art market practically did not existed and only a comparatively small number of artists educated outside of the Baltics were working there. The local art scene became significantly more active after 1870, when the Riga Art Society was established. In 1898, Society opened its Art Salon, which held several solo exhibitions of women artists and at least two group shows where all of the participants were women: the exhibition of works by …

“Non Più Cenerentole!” The Società Delle Artiste At The 1906 Mostra Nazionale Di Belle Arti In Milan, Chiara Iorino

Artl@s Bulletin

The Society of women artists was created in Rome in the house of the painter Ida Salvagnini Bidoli and her husband Francesco Alberto Salvagnini. Its members presented themselves as a group at the National Exhibition of Fine Arts during the International Exhibition of Sempione in Milan in 1906 where they managed to get their own room. This article will describe the difficulties encountered by these artists, show the importance of the exhibition as a site where artistic ambitions coincided with the women’s movement and contextualize it within the broader transformations of women’s roles in Italy at the beginning of the …

L'Esposizione Internazionale Femminile Di Belle Arti (Torino, 1910-1911; 1913). Note Su Genere, Arte E Professione In Italia All'inizio Del Xx Secolo, Francesca Lombardi

Artl@s Bulletin

Il contributo intende ricostruire la vicenda delle Esposizioni Internazionali Femminili di Belle Arti (1910-11; 1913), prima manifestazione artistica di taglio internazionale riservata esclusivamente alle donne organizzata in Italia. Promosse a Torino dalla rivista La Donna, le due rassegne si svolsero in un momento storicamente determinante per l'affermazione di un nuovo status delle artiste, contribuendo a dare visibilità e legittimità al fenomeno della produzione artistica femminile. La ricerca ripercorre, sulla scorta soprattutto di documenti d'epoca e fonti d'archivio, la storia e gli esiti di questa innovativa esperienza, evidenziando la complessità delle reti istituzionali, sociali, di patronage e matronage che concorsero …

Autour De Frances Benjamin Johnston, Gertrude Käsebier Et Catharine Weed Barnes Ward: Stratégies Séparatistes Dans L’Exposition Des Femmes Photographes Américaines Au Tournant Des Xixe Et Xxe Siècles, Thomas Galifot

Artl@s Bulletin

Cette étude inclut une nouvelle analyse de l’exposition des photographes américaines conçue par Frances Benjamin Johnston à l’occasion de l’Exposition universelle de Paris de 1900. Dans une mise en perspective inédite, l’événement est également replacé dans un contexte américain élargi, riche en initiatives et en débats aussi fondateurs que méconnus. Cette enquête, qui donne lieu au premier panorama des expositions collectives de photographes américaines jusqu’en 1914, aboutit à une nécessaire remise à l'honneur de Catharine Weed Barnes Ward et de Gertrude Käsebier, personnalités dont le rôle central sur ces questions est largement mésestimé.

Colonial Maps And A Cartographic Reckoning In Post-Revolutionary Mexico City, Delia A. Cosentino

Artl@s Bulletin

By the 20^th century, 16th-century maps of Mexico City were not new, but their value was renewed by an urban elite grappling with the nation's historical geography. The capital saw fresh developments, including modern architecture and industry, while early excavations offered glimpses of Aztec Tenochtitlan buried beneath. This stratigraphic tension necessitated a reckoning; of concern here is the way that visual and intellectual cultures engaged in a particular cartographic reckoning. Colonial maps filled a void as artists, architects, art historians, and others worked to reconcile Mexico City’s modern identity with its ancient foundations.

Disputas Imperiales Por Latinoamérica: Un Ensayo Comparativo En Torno A Dos Proyectos Cartográficos De Alfredo Guido Y Miguel Covarrubias, Fabiana Serviddio

Artl@s Bulletin

En este trabajo propongo ensayar una comparación entre dos proyectos artísticos casi contemporáneos realizados en los albores de la Segunda Guerra Mundial, que problematizaron su pertenencia cultural a relatos regionales preestablecidos. En primer lugar, se abordará el análisis de Carretera Panamericana(1942), obra mural del artista argentino Alfredo Guido; en una segunda instancia, se hará referencia al proyecto de los seis mapas pictóricos realizados por Miguel Covarrubias para la Exposición Internacional Golden Gate de San Francisco, en 1939 (deteniéndome en particular, en Formas artísticas del área del Pacífico yPoblaciones del Pacífico). Las cartografías pictóricas de Alfredo Guido y …

Mapping Colonial Interdependencies In Dutch Brazil: European Linen & Brasilianen Identity, Carrie Anderson

Artl@s Bulletin

In Dutch Brazil, the Brasilianen were essential allies to the West India Company. To maintain this critical alliance, the Dutch presented them with gifts of linen, a fabric in high demand. Representations of Brasilianen wearing linen garments were pervasive and include an image on Joan Blaeu’s 1647 map of the Brazilian Captaincies of Rio Grande and Paraíba. Traditional interpretations of these linen-clad Brasilianen prioritize a center/periphery model; in contrast, I argue that these pictured linens document the interdependencies between the WIC and the Brasilianen, a position supported by digital maps plotting Dutch/indigenous exchanges.

Indigenous Stylistic & Conceptual Innovation In The Uppsala Map Of Mexico City (C. 1540), Jennifer Saracino

Artl@s Bulletin

The only known map of Mexico City painted with the collaboration of indigenous artists, the Mapa Uppsala (c. 1540) depicts the city and surrounding Valley of Mexico. This essay counters previous characterizations of the map’s formal composition as one that has fully espoused European cartographic modes. This essay contextualizes the Mapa Uppsala within the extant corpus of pre-Hispanic and early colonial cartographies to demonstrate that a closer analysis of pictorial conventions and structures can shed light on how and why the artists might have consciously selected particular pictorial strategies.

El único mapa conocido de la ciudad de México pintado con …

Thinking Globally, Mapping Locally: Styles And Discourse In Transatlantic Cartography, Delia A. Cosentino

Artl@s Bulletin

Maps have the special capacity to create and project spatial frameworks through both their physical and stylistic forms. The close study of maps as constructed objects re-centers the principle element of any art historical problem, relational thinking through visual culture. A cartographic representation examined as an element of its historical context can simultaneously articulate a specific perspective on a particular place, and reveal broader dialogues of which that viewpoint is one part. The articles brought together here examine a variety of local mappings contingent on more global thinking in the transatlantic world, from the colonial period to the twentieth century.

One Root, Many Trees: Reviving Collections Practices, Kevin Farley, Emily Davis Winthrop, Ibironke Lawal, Patricia Sobczak

Charleston Library Conference

Collections are undergoing intense change and pressure from technology, budgetary uncertainties, and emerging perspectives on future approaches. Our case study—drawn from our experiences as collections librarians—examines these complex issues facing academic collections, large or small, across the profession. Through the development of “collections of distinction” within the local collection, collaborations and scholarly partnerships with colleagues and faculty, and advocacy for the importance of dedicated oversight to ensure that collections investments fulfill the academic mission, we explore possible solutions to the complicated issues defining contemporary collections practices.

Think Natural ! Une Nécessité Qui Ne Se Cache Plus, Cedrick Nzolo Ngamobu

Artl@s Bulletin

This contribution raises questions regarding the search for mediation and transition found in pedagogy and the creative process. This can be posed as a response to an affirmation of identity, coupled with a search for philosophical autonomy. The need for mediation or transition is a necessity that we all seek in different ways and according to our respective contexts. In teaching in a school of art or fashion, it is a question with different variables that leaves the field open to all forms of questioning and brings to the fore the confrontation of modes of expression.

Œuvre D’Art Comme Récit Historique (Rapport Des Discussions Du Groupe De Travail), Emi Koide

Artl@s Bulletin

This report aims to present central questions raised during two days of group discussion and debate concerning the theme « art work as history ». Several different points of view were presented, in which generational frictions in kinois artistic milieu came to the fore. The main subjects during the discussions were: the challenges involved in writing Art History in the Congo through their own perspectives; the importance on creating archives about Congolese art locally; considering artwork as historical narrative; the importance of the body as a link between object and performance, as well as between material and immaterial dimension.

Au-Delà Des Rivalités Provinciales : Poétiques Visuelles Tropicalistes Et Autres Projets D’Art Étendu Depuis La Perspective Du Nord-Est Brésilien, Ayrson Heráclito

Artl@s Bulletin

This text is a compilation of writings published during the course of our research for the 3^rd Biennale of Bahia (2014), for which we worked in the curatorial team. These investigations reflect on the genealogy of Northeast Brazil’s contemporary art, seeing this region as unrestricted and non-essentialist. The production of certain artists is considered within an expanded context. To this end, we employed the idea of PEBA (Pernambuco-Bahia), while attempting to come to terms with the possibility of existence of a family, united by the desire for a poetic turn in the tropics.

The Lubumbashi Biennial: Towards New Protagonisms, Daniella Géo

Artl@s Bulletin

This article reflects on the role and relevance of the Lubumbashi Biennial (DR Congo), taking into account its specificities, context and modus operandi, as well as making brief parallels with other recurring art events in an attempt to situate the Congolese biennale within the histories of contemporary art biennales. The text provides first-hand commentary on the Lubumbashi Biennial, in particular its fourth edition in which the author formed part of the curatorial team.

Histoire Picturale De Laurent-Désiré Kabila (1997-2001), Donatien Dibwe Dia Mwembu

Artl@s Bulletin

This article considers the story of the late Laurent-Désiré Kabila, President of the Democratic Republic of Congo, as told by the popular painters of the city of Lubumbashi. Its shows how popular painting contributes to the knowledge of LD Kabila's reign, by serving as a support for oral history. Indeed, the commentaries of the paintings made by their authors or by critics unveil a chapter of history. Placed next to each other according to their theme and chronological order, popular paintings depict the highlights of the history of a given region in a specific area such as politics, economy, culture, …

Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama

Artl@s Bulletin

This study relooks at the problematic concept of "African Art". The conceptual evolution of "African Art" coincides with three realities: firstly, that the art discovered in Africa was described as uncivilized; secondly, that this art capitulated with the colonial past of Africa; finally, that this art of an underdeveloped continent. In such a context of emergence, this art has been or is still exploited by ambitious and interested promoters. Hence, there is an imperative need for contemporary artists to overcome all these influences to produce works whose ontological values and universality cannot be challenged.

Les Nouveaux Défis Du Métier D’Artiste En République Démocratique Du Congo, André Yoka Lye

Artl@s Bulletin

The history of art institutions in D.R. Congo is relatively old compared to the rest of Africa. This justifies the know-how of Congolese artists since 1930-40’s, even if the general trend was, for a long time, reliant on amateurism and mimetism of European production. With the integration of art institutes into university education level since 1971, the issues and challenges became precise and appeared to be possible to overcome: professionalization, rooted and applied research, community building and international competitiveness, with the urge of solidarity with countries and experiences from the South.

Perspectives On Video Games As Art, Jeroen Bourgonjon, Geert Vandermeersche, Kris Rutten, Niels Quinten

CLCWeb: Comparative Literature and Culture

In their article "Perspectives on Video Games as Art" Jeroen Bourgonjon, Geert Vndermeer­sche, Kris Rutten and Niels Quinten engage in discussing whether or not video games can be considered a form of art. Although this question has already been discussed elaborately, the debate is guided by many differ­ent and often conflicting positions. The aim of this article is to revisit this debate by mapping out a range of perspectives on video games as art. The authors explore the relation between games and differ­ent definitions and functions of art, different motives of artists, and the potential impact of the arts. The …

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 …

“What You See Is What You Get: The Artifice Of Insight”: A Conversation Between R. Luke Dubois And Anne Collins Goodyear, Anne C. Goodyear

Artl@s Bulletin

The metaphorical relationship between sight and knowledge has long been recognized: the double-entendre of “illumination” promises both light and understanding; “I see” signifies that one “gets it” intellectually. This conversation between R. Luke DuBois and Anne Collins Goodyear addresses how data accrues meaning through pictorial structures that represent it. An artist, DuBois has consistently played with conventions for depicting information visually, revealing the intersections between data and desire they represent. Reexamining the interfaces through which we view the world, DuBois and Goodyear consider what our filters threaten to hide.

La relation métaphorique entre la vue et la connaissance a longtemps …

Network Analysis And Feminist Artists, Michelle Moravec

Artl@s Bulletin

This article examines the benefits and drawbacks of using social network analysis to study feminist artists’ networks. Looking at two of the author’s digital humanities projects, it explores the systemic and structural barriers that limit the utility of social network analysis for feminist artists. The first project on the social network of artist Carolee Schneemann analyzed her female circles through a correspondence network. The second project attempted to trace the circulation of feminist art manifestos in American feminist periodicals. Three factors are identified as constraining network analysis in these case studies, the lack of feminist artists’ archives, an insufficient amount …

Workshop As Network: A Case Study From Mughal South Asia, Yael Rice

Artl@s Bulletin

Over the course of Emperor Akbar’s reign (1556–1605), an exceptionally high volume of illustrated manuscripts was produced. The manuscript workshop was staffed accordingly: between the 1580s and early seventeenth century, over one hundred painters found employ at the Mughal court. Thanks to contemporaneous ascriptions found in the margins of the manuscripts’ illustrated pages, the artists’ names and the capacities (designer or colorist) in which they worked are known. This essay uses digital and sociological methods to examine networks of artistic collaborations across select manuscript projects, arguing that the structure of workshop production teams—in which membership frequently fluctuated—facilitated the formation of …

Keeping Our Eyes Open: Visualizing Networks And Art History, Stephanie Porras

Artl@s Bulletin

Network visualizations have the potential to translate messy archival work into clouds of connection, powerful maps of relations that can reveal hidden agents or nodes of production. But network visualizations must also be understood as artifacts of our own visual culture, laden with the biases and limits of both past and present knowledge systems. Rather than seeing networks as uniform webs of connection, social network analysis must productively interrogate how biopolitical, cultural and social power are manifested within these visualizations, reinforcing the biases and lacunae of the archive.

Continuity And Disruption In European Networks Of Print Production, 1550-1750, Matthew D. Lincoln

Artl@s Bulletin

Computational analysis of the potential historical professional networks inferred from surviving print impressions offers novel insight into the evolution of early modern artistic printmaking in Europe. This analysis traces a longue durée print production history that examines the changing ways in which different regional printmaking communities interacted between 1550 and 1750, highlighting the powerful impact of demographic forces and calling in to question narratives based on single key individuals or the emergence of specific national schools.

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 …

"A Most Disgraceful, Sordid,Disreputable, Drunken Brawl": Paul Cadmus And The Politics Of Queerness In The Early Twentieth Century, Samuel W D Walburn

The Purdue Historian

This paper examines the work of Paul Cadmus from 1930 to 1948. Over the span of nearly three decades, Cadmus's art evolved from covert depictions of queer culture to an explicit depiction of the politics of queerness in immediate postwar America. Cadmus’s legacy is unique because his art documents the shifting conceptualizations of gender and sexuality in the first half of the twentieth century. He is also notable because he so masterfully maneuvered the liminal space between private and public, painting subversive images immersed in covert queerness early in his career and later using queer art as a tool of …

Circulations, Resémantisations. Le Palimpseste Aporétique, Béatrice Joyeux-Prunel

Artl@s Bulletin

Pourquoi trouve-t-on si peu d’études sur les resémantisations à l’œuvre dans les circulations artistiques ? Pourquoi dispose-t-on encore moins de théorie générale pour comprendre ces resémantisations ? Ce papier, s’interrogeant sur les questions que lève une approche circulatoire de l’histoire de l’art, passe en revue les méthodes et les sources qui peuvent contribuer à y répondre. Qu’est-ce qui porte le sens d’une œuvre d’art ? Comment le sens se constitue-t-il et évolue-t-il selon les temps et les lieux ? Quels sont les facteurs qui le font changer ? Quelles sont les conséquences possibles d’une resémantisation artistique ? Y a-t-il des …

Magie, Terre Et Cri. Les Resémantisations Politiques De L’Œuvre D’Antoni Tàpies Sous Le Franquisme., Claudia Grego

Artl@s Bulletin

Tout au long de sa carrière, Antoni Tàpies (1923-2012) fut partisan d’un modèle interprétatif qui permit l’appropriation individuelle de ses œuvres. Le peintre fut le défenseur et le bénéficiaire d’un mode de signification du tableau qui n’était ni univoque, ni prédéterminé. Dans cet article, on analysera comment cette ductilité interprétative a permis la resémantisation politique des œuvres de Tàpies pendant l’époque du franquisme (1939-1975). Guidés par une de ses premières créations, Croix de journal (1946 – 1947), nous tracerons les déplacements de ses toiles pour classifier les déclinaisons sémantiques de l’œuvre en trois grandes étapes : d’abord, l’émergence de Tàpies …

Kisses Sweeter Than Wine. Öyvind Fahlström And Billy Klüver: The Swedish Neo-Avant-Garde In New York, Per Bäckström

Artl@s Bulletin

The Swedish artist Öyvind Fahlström moved to New York in 1961, where he meet the Swedish engineer Billy Klüver, and became part of the international neo-avant-garde movement. Fahlström’s performance, New York 1966, part of Klüver’s performance series 9 Evenings, is my point of departure for an analysis of the role of migration for the neo-avant-gardes in the 1960s. As intermediaries, Fahlström and Klüver brought new ideas both to New York and Stockholm, thus challenging the established view that American art was exported to the periphery. In reality, the New York art scene grew out of ideas and experiences arriving …

Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited, Joana Baião

Artl@s Bulletin

This paper proposes to revisit some issues related to the impact of emigration on the paths followed by a group of six Portuguese painters who settled in Paris between 1958 and 1961. To do that, it will analyze and contextualize the evolution of their work in the first half of the 1960’s, and it will recall the small exhibition Seis Pintores Portugueses de Paris that opened in 1966 in Lisbon with the purpose of highlight the particularities of the artistic research that was being developed by those artists in Paris, integrating them into the international artistic movements of the period.