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Relevant bibliographies by topics / Artist historian

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Journal articles

Academic literature on the topic 'Artist historian'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Artist historian"

1

Godfrey, Mark. "The Artist as Historian." October 120 (April 2007): 140–72. http://dx.doi.org/10.1162/octo.2007.120.1.140.

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2

Vishnyakova, Yulia I. "Person being in love of Book». Book Exhibition from the Collection of Sokolsky." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 27, 2012): 73–76. http://dx.doi.org/10.25281/0869-608x-2012-0-2-73-76.

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On the event dedicated to the 50th anniversary of the death of artiste, people's artist of the RSFSR, writer, bibliographer and historian of the book - N. Smirnov-Sokolsky. The exhibition was held in the Research Department of Rare Books (Book Museum) of the Russian State Library.

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3

Tarrant, Naomi E. A. "The Portrait, the Artist and the Costume Historian." Dress 22, no. 1 (1995): 69–77. http://dx.doi.org/10.1179/036121195805298208.

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4

Goffen, Rona. "Renaissance Dreams." Renaissance Quarterly 40, no. 4 (1987): 682–706. http://dx.doi.org/10.2307/2862448.

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Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that are so intimate as family, marriage, and sex. Moreover, there is another issue involved when one is concerned with works of art, at least in the Renaissance or in any period when art was made for patrons, and that is precisely the presence of another psyche in the mixture, in addition to that of the artist himself and that of the historian-observer.

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5

Makhoul, Bashir. "Kamal Boullata (1942–2019): Squaring the Circle." Journal of Palestine Studies 49, no. 2 (2020): 87–89. http://dx.doi.org/10.1525/jps.2020.49.2.87.

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This remembrance commemorates the life of Kamal Boullata, an influential Palestinian artist and art historian from Jerusalem. In it, the artist Bashir Makhoul discusses Boullata's influence on his own art's connection to Palestinian history and identity.

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6

Howard, Irmgard Keeler. "Clyde Edgar Keeler (1900–1994): Geneticist, Artist, Cultural Historian." Journal of Heredity 86, no. 6 (1995): 489–91. http://dx.doi.org/10.1093/oxfordjournals.jhered.a111630.

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7

Dalton, Jennifer, and Omar Lopez-Chaboud. "Dream Trash/Trash Dream: The Artist as Collector, Historian, and Archivist." PAJ: A Journal of Performance and Art 21, no. 2 (1999): 63. http://dx.doi.org/10.2307/3246005.

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8

Coleman, Jenny. "Vested Interests: The Con Artist, the Historian, and the Feminist Biographer." a/b: Auto/Biography Studies 25, no. 1 (2010): 18–31. http://dx.doi.org/10.1080/08989575.2010.10815359.

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9

Darensbourg, Jeffery U. "We Are Together Now: Notes on the Film Hoktiwe: Two Poems in Ishakkoy." Genealogy 5, no. 2 (2021): 28. http://dx.doi.org/10.3390/genealogy5020028.

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Artist and historian of the Atakapa-Ishak Nation, Jeffery Darensbourg’s 2020 film with Fernando López features poetry in Ishakkoy, an indigenous language from what is now southwest Louisiana and southeast Texas, composed during an artist residency at A Studio in the Woods. The companion essay shares some of the process of composing creative works in this language, and especially of writing centos, also known as patchwork or collage poems, during COVID-19 sequestration.

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10

Lai, Linda Chiu-han. "Contemporary “Women’s Art in Hong Kong” Reframed." positions: asia critique 28, no. 1 (2020): 237–74. http://dx.doi.org/10.1215/10679847-7913132.

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This article is a report of an ongoing performative research project conducted by the author in the capacity of an experimental historian–cum–fellow artist to the research subjects. Performative research is meant to be deconstructive: enacting the “what-if-we-talk” point of departure, the researcher and her subjects reopen established conclusions and definitions and examine (rules of) inclusions and exclusions in the local art paradigm. The main tasks and methods that form the performative research are (re) naming, inscription, dialogues, and thick description. The author engaged female artists in conversations to solicit their self-portrayal as artists, or not; the importance of womanhood to their life and art making; and their use of feminism. The exchanges with six artists discussed here reveals the complex positions Hong Kong women occupy in sustaining artistic creation and innovation in Hong Kong, which reopens such questions as what is an artist and what is art making. This research supports a picture of art as being more about the process and the here-and-now moment than the final art object. Women’s art as a research framework productively points to a pervading mode of artistic practice that highlights collaboration, networking, and the making of relations, events, and situations. This performative approach also invokes all artists to become theory makers of their own practice.

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