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Journal articles on the topic 'Artist historian'
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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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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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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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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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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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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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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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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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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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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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Rusak, Halina. "[no title]." Art Libraries Journal 17, no. 1 (1992): 30–31. http://dx.doi.org/10.1017/s030747220000763x.
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My involvement as an artist and as an art librarian allows me to see a full spectrum of art history from its inception by an artist to its assessment by an art historian. It enables me to better understand the needs of faculty and students in the field of visual arts, as well as to interface effectively with faculty and scholars in art history. My gallery membership at SOHO 20 in New York City provides me with insight into art trends in the making. It demonstrates well a woman’s place in the contemporary art world, and a role of a critic in promoting or establishing an artist. I feel that this knowledge makes me a better librarian.
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Smith, G. Rex. "Studies on the Tihāmah." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 1 (1986): 30–39. http://dx.doi.org/10.1017/s0035869x00139085.
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During the early winter months of 1982, the members of the Tihāmah Expedition, under the leadership of Anderson Bakewell, carried out research in a number of disciplines in the Red Sea coastal plain area of the Yemen Arab Republic. The team included a musicologist, an artist, an ornithologist and wildlife artist, an architect, an architectural artist, an archaeologist and an ethnographer. To augment their own research papers, the members of the expedition invited other contributors to join them in helping to produce the book under review. These contributors included an historian, the directorgeneral of the Tihāmah Development Authority, an agronomist, a zoologist, two lepidopterists, an Arabist and a botanist. The book has been edited by Francine Stone, who was expedition administrative officer, as well as ethnographer.
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Shaparenko, Tatyana. "Volodymyr Kulichykhin as a Researcher of the Creative Work of an Artist Mykhailo Sapozhnykov." Roxolania Historĭca = Historical Roxolania 1 (November 15, 2018): 243. http://dx.doi.org/10.15421/30180118.
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The article considers course of life and scientific activity about art critic, local historian and experienced museum researcher Volodymyr Kulichyhin, who almost 30 years of his life devoted to studying, popularization and publication of materials dedicated to creativity of Yekaterinoslav/Dnipropetrovsk artist at the beginning of 20th century Mykhailo Sapozhnykov.
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E. Beaudoin, Joan. "A framework of image use among archaeologists, architects, art historians and artists." Journal of Documentation 70, no. 1 (2014): 119–47. http://dx.doi.org/10.1108/jd-12-2012-0157.
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Purpose – The purpose of this paper is to report on a research study which examined how and why images were used by professional image users to inform the design and development of information systems and services. Design/methodology/approach – A total of 20 participants in four user groups, archaeologist, architect, art historian and artist, took part in this qualitative research study. Data was collected through a survey and one-on-one semi-structured interview and data analysis was completed using case-ordered displays and the constant comparative method. Findings – The findings revealed that image use varied according to profession. Archaeologists and art historians identified using images within their lecture presentations, and for research and publications. While architects and artists noted using images for research and design creation, their work products differed. Several reasons why these professionals used images in their work were identified: knowledge, conceptual model, inspiration, cognitive recall, critical thinking, emotion, engagement, marketing, proof, social connection, translation, and trust. Research limitations/implications – Study limitations include the small number of user groups, and methods dependent on participants' abilities to recall and clearly articulate past activities. Originality/value – The study clarifies the varied roles visual information plays in the work of archaeologists, architects, art historians and artists. As the paper reveals how and why images are used, its contents are particularly useful for systems designers, librarians and other individuals who support image users.
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Bashforth, Martin, and Patricia Bashforth. "Diverse Evill Persons: Echoes in the Landscape, Echoes in the Archives." Public History Review 18 (December 31, 2011): 83–107. http://dx.doi.org/10.5130/phrj.v18i0.2135.
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This is an account of a process, the working together of cross-disciplinary insights between an artist and a historian, to create a means by which members of the public might encounter the past on their own terms. In the summer of 2009, the historian [MB] and the conceptual artist [PB] decided to collaborate on a project based around events at Cannon Hall, Cawthorne in the West Riding of Yorkshire, 1673-74. The events are located in the B family genealogy but carry in them echoes of deeper social and economic forces in the past, as well as relevance to modern debates about crime, welfare and justice. The aim of the project is to create an exhibition/installation within which members of the public can experience what it means to make sense of the past through the prism of the present. The project is intended to challenge normative approaches in museology and the interpretation of heritage objects, places and documents. The article explores the foundational processes and concepts.
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Berrebi, Sophie. "Nothing Is Erased: Hubert Damisch and Jean Dubuffet." October 154 (October 2015): 3–7. http://dx.doi.org/10.1162/octo_a_00235.
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Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that established him as one of the most important art historians and philosophers working in France since the 1960s, Hubert Damisch (1928–) edited the four volumes of the writings of artist Jean Dubuffet (1901–1985) and dedicated no less than eighteen articles to his work from 1961 to 2001. Dubuffet is, in other words, the contemporary artist with whom Damisch had the most extensive and prolonged contact during the years 1961–1985. Until now these writings have been overlooked, even though they are contemporary to Damisch's writing on other subjects and demonstrate the major role played by Dubuffet in his thinking. This essay introduces the correspondence between Dubuffet and Damisch, shedding light on Damisch's writings on Dubuffet that are also published in this issue of October. I examine the context of their first meeting in 1961 and seek to understand the dynamics of the relationship between an artist then at a turning point of his career—he was the subject of major retrospective exhibitions in France and the United States and at a crucial point of rupture within his work—and a young philosopher and art historian who had recently moved away from phenomenology to study and write about art. At this critical moment, Dubuffet's oeuvre provided material through which Damisch could investigate art through philosophy and philosophy through art.
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Wamsley, Douglas W. "Albert L. Operti: chronicler of Arctic exploration." Polar Record 52, no. 3 (2015): 276–93. http://dx.doi.org/10.1017/s0032247415000753.
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ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic skills to the subject. Operti served as official artist for Robert E. Peary during his Arctic expeditions of 1896 and 1897, producing paintings, drawings and even plaster casts of the Inuit from the expedition. Over the course of his lifetime he painted a number of ‘great’ pictures depicting, in a factually accurate manner, important incidents in Arctic history along with numerous smaller paintings, sketches, illustrations and studies. The quality of his work never rivaled his more talented contemporaries in the field of ‘great’ paintings, such as the prominent artists William Bradford and Frederic Church. Nonetheless, Operti achieved some recognition in his time as a painter of historical Arctic scenes, but the full extent of his contributions are little known and have been largely unexamined. Unlike the explorers themselves whose legacy rests upon geographic or scientific accomplishments and written narratives, Operti's legacy stands upon the body of distinctive artwork that served to convey, in realistic and graphic terms, the hardships and accomplishments of those explorers. This article recounts the life of Operti and his role as an historian in disseminating knowledge of the polar regions and its explorers to the public.
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Damisch, Hubert, and Meyer Schapiro. "Letters, 1972–1973." October 167 (February 2019): 25–123. http://dx.doi.org/10.1162/octo_a_00337.
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Between January 1972 and December 1973 French art-historian/philosopher Hubert Damisch and American art-historian Meyer Schapiro exchanged forty-four letters. During this short period, the two scholars discussed many issues concerning the state of art history and its relationship to semiotics and psychoanalysis. A recurring topic was Freud's famous lapse of memory concerning the name of the Renaissance artist Luca Signorelli—what to make of the lapsus in art-historical terms and how to make use of it in analyzing Signorelli's cycle of frescoes at the Cathedral of Orvieto in Italy. Damisch was then beginning to work on a book devoted to the subject while Schapiro was writing a small essay on the topic.
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Schapiro, Meyer. "On Freud's Forgetting of “Signorelli”." October 167 (February 2019): 124–29. http://dx.doi.org/10.1162/octo_a_00338.
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Between 1960 and 1980, American art-historian Meyer Schapiro's thoughts returned frequently to the first page of Freud's The Psychopathology of Everyday Life, in which the author discusses forgetting the name of Renaissance artist Luca Signorelli. In his conclusions on the subject, unpublished until now, Schapiro considers how Freud's explanation of his lapse of memory may have itself suffered from a repression of sexual anxieties.
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Morgan, David. "Imaging Protestant Piety: The Icons of Warner Sallman." Religion and American Culture: A Journal of Interpretation 3, no. 1 (1993): 29–47. http://dx.doi.org/10.1525/rac.1993.3.1.03a00020.
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Traditionally, art historians have relied on iconography, biography, and connoisseurship as the fundamental means of studying images. These approaches and methods stress the singularity of an image, its authenticity, and its authorship; therefore, they reflect an enduring debt to the humanist tradition of individualism. The image is understood principally as the product of the unique and privileged inspiration of an individual artist and is regarded as a measure of this individual's genius. Iconographical and biographical research secure authorial intent; connoisseurship authenticates the work. While this scholarly apparatus certainly offers the art historian indispensable tools, it is important to understand that its commitment to original intent is singularly ill-equipped to assess the reception of images, the ongoing history of response that keeps images alive within a culture from generation to generation.
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Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.
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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
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Snider, Stefanie. "Beyond the Static Image: Tee Corinne's Roles as a Pioneering Lesbian Artist and Art Historian." Journal of Lesbian Studies 17, no. 1 (2013): 87–102. http://dx.doi.org/10.1080/10894160.2012.683383.
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Walton, Karen Doyle. "Albrecht Dürer's Renaislance Connections between Mathematics and Art." Mathematics Teacher 87, no. 4 (1994): 278–82. http://dx.doi.org/10.5951/mt.87.4.0278.
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The great German artist Albrecht Durer (1471-1528) is best known for his woodcuts, paintings, and copper engravings as well as the thousands of books and articles that have been written about him. However, the mathematics in Durer's work has been given inadequate recognition, except by the occasional mathematics or art historian who has appreciated the important connections Durer made between the two fields. The purpose of this article is to bring those connections to the readers of this journal.
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druckman, charlotte. "Why Are There No Great Women Chefs?" Gastronomica 10, no. 1 (2010): 24–31. http://dx.doi.org/10.1525/gfc.2010.10.1.24.
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This article applies the rhetorical and deliberately provocative approach of the watershed essay art historian Linda Nochlin wrote in 1971——““Why Have there Been No Great Women Artists?””——to today's culinary industry. Nochlin used the question her title posed as a theoretical trap that would draw attention not only to the inherent sexism or prejudice that pervades the way the public perceives art, but also to those same issues' existence within and impact on academia and the other cultural institutions responsible for posing these sorts of questions. Nochlin bypassed the obvious and irrelevant debate over women's being less or differently talented and, in so doing, exposed that debate for being a distraction from the heart of the matter: how, sociologically (media) or institutionally (museums, foundations, etc.), people define a ““great artist.”” Although it's 40 years later, the polemic is as effective when used to understand the gender divide in the food world.
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Barroso Juan, Santiago, and Gustavo Patow. "Recreación de estructuras arquitectónicas mediante modelaje procedural basado en volúmenes." Virtual Archaeology Review 4, no. 9 (2013): 76. http://dx.doi.org/10.4995/var.2013.4251.
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<p>While the procedural modeling of buildings and other architectural structures has evolved very significantly in recent years, there is noticeable absence of high-level tools that allow a designer, an artist or an historian, creating important buildings or architectonic structures in a particular city. In this paper we present a tool for creating buildings in a simple and clear, following rules that use the language and methodology of creating their own buildings, and hiding the user the algorithmic details of the creation of the model.</p>
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Daichendt, G. James. "What's in a title? The developing role of an artist-critic in the university." Visual Inquiry 8, no. 3 (2019): 179–85. http://dx.doi.org/10.1386/vi_00002_7.
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Abstract Arts professionals within higher education struggle with identity. Dual roles across departments, the changing role of the arts professor and non-traditional positions have challenged the notion of the studio arts instructor and whether institutional expectations are the best way to think about the future of the arts in higher education. As a veteran arts professor, dean, art historian, art critic and artist ‐ my role is not as straightforward as I originally thought it might be as an undergrad studio art major. Through a series of significant streams in my education and personal life, including successes and failures in the academic and professional art world ‐ a new identity emerged that is not represented in search profiles, academic departments or administrative positions.
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Goldman-Ida, Batsheva. "Jonathan Leaman: In Conversation." IMAGES 13, no. 1 (2020): 47–73. http://dx.doi.org/10.1163/18718000-12340130.
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Abstract Jonathan Leaman (b. 1954, London) is a British painter who is represented in the Tate Collection. This article, the result of 15 years of his correspondence with art historian and museum curator Batsheva Goldman-Ida, focuses on a group of works by the artist from the last two decades. Leaman’s familiarity with major Kabbalah scholarship, combined with his wide knowledge of poetry and philosophy, enable him to engage in concepts related to Kabbalah and art in a discursive manner that is unparalleled in modern scholarship. This article showcases Leaman’s remarks with source material for the benefit of the reader. Leaman is one of the most important contemporary artists in the area of mystical art. His introduction to the public is long overdue. His paintings are an authentic, creative expression of the considered material filtered through the artist’s own self-awareness. Leaman’s keen interest in haecceity, hypostatization, and reification is juxtaposed with Goldman-Ida’s interest in object history and linguistic mysticism, and with key Hasidic and kabbalistic concepts such as worship through corporeality, divine contraction, and rectification.
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Sørensen, Trine Friis. "Historically speaking: The workings of the past in a performance by Olof Olsson." Maska 30, no. 172 (2015): 148–59. http://dx.doi.org/10.1386/maska.30.172-174.148_1.
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This article sets out to untangle the workings of the past in a performance by Danish-Swedish-Dutch artist Olof Olsson. Leaving behind the official documents of the Danmarks Radio (DR) Archive, Olsson explores the byroads of radio history through a miscellaneous assortment of nugatory documents and objects. The article proceeds as a close reading of aspects of Olsson’s performance using three figures described by Walter Benjamin – the collector, the storyteller and the historian – as points of reference. By tracing out the contours of these figures in Olsson’s performance, I am able to elucidate the subversive potentiality of his digressive narrative.
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Rolsky, L. "Bishop Lamont and Hermeneutics of Play." Bulletin for the Study of Religion 40, no. 3 (2011): 9–15. http://dx.doi.org/10.1558/bsor.v40i3.003.
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This paper investigates the subject of hip-hop within the study of religion and the study of American religion and culture. In particular, the paper focuses on the corpus of California hip-hop artist Bishop Lamont in developing a "hermeneutics of play" through a combinative "lived religion" approach as a way of reading and reflecting on the larger religious significance of hip-hop in late 20th century America. As both a reading practice and a subject of study for both historians and religious studies scholars, hip-hop comes into view in this paper as an essential component in narrating an American religious history of the last three decades. Hip-hop and its study also reveals its own understandings of religion, America, and American religion as articulated through post-industrial and a variety of religious vocabularies that have been largely ignored by scholars of religion. In essence, this paper argues that by exploring the rhetorical, religious, and existential complexity found within hip-hop cultures, a more complex post-1965 American religious landscape emerges for both the historian and theorist of religion.
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Koski, Kaisu, Fenna Heyning, and Robert Zwijnenberg. "Collaborative Meaning-making in Arts-based Research: Data Interpretation with an Artist, a Physician, and an Art Historian." Art/Research International: A Transdisciplinary Journal 1, no. 1 (2016): 234. http://dx.doi.org/10.18432/r2mw28.
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This article discusses collaborative meaning-making in arts-based research. It introduces a project in which an artist-researcher invited a physician and an art historian to help to interpret medical students’ hand-made drawings of the female reproductive system and the conception process. The authors elaborated on different viewpoints and modes of talking during the data interpretation, and discussed how these were founded on, and disrupted, their professional roles in various ways. The article discusses how these different viewpoints about the students’ drawings complemented or conflicted with each other. It also discusses the use of associations and humor in these interpretations, and the experiences of emotional discomfort during the process.
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Vivarelli, Vivetta. "Der Bildner des Übermenschen und der dithyrambische Künstler: Michelangelo und Wagner in Also sprach Zarathustra." Nietzsche-Studien 47, no. 1 (2018): 326–39. http://dx.doi.org/10.1515/nietzstu-2018-0013.
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Abstract The Sculptor of the Overman and the Dithyrambic Artist: Michelangelo and Wagner in Thus Spoke Zarathustra. This paper draws on the work of Mazzino Montinari in order to explore the relations between Nietzsche’s image of Michelangelo and specific elements of Thus Spoke Zarathustra. These elements concern the idea of the overman and the figure which is sleeping in the stone. A biography of Michelangelo by the art historian Herman Grimm, a correspondent of Ralph Waldo Emerson, may be the source of Nietzsche’s reference to a mysterious statue described in the chapter “Of Those who are Sublime”. Moreover, Jacob Burckhardt’s Cicerone may help to explain the relationship between Wagner and the sculptor. One way to understand the context of this image is to return to the fourth Untimely Meditation - Richard Wagner in Bayreuth - in which Nietzsche portrays Wagner as both a sculptor and a dithyrambic artist. Some years later Zarathustra/Nietzsche will himself appear as the sculptor of the overman and as the authentic dithyrambic poet, that is the authentic “musician of the future”.
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McCracken, Ellen. "Fray Angélico Chávez and the Colonial Southwest: Historiography and Rematerialization." Americas 72, no. 4 (2015): 529–47. http://dx.doi.org/10.1017/tam.2015.66.
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In the summer of 1924, townspeople recount, 14-year-old Manuel Chávez built models of colonial New Mexico mission churches in the dirt outside Our Lady of Guadalupe Church in the village of Peña Blanca. He was staying with the Franciscan friars after expressing his desire to enter the seminary, where he would become the first native New Mexico Hispano to be ordained a Franciscan priest in the centuries since the Spanish colonization. Still a boy, but one who was about to embark on a life-changing path, the small missions he playfully constructed in the dirt and staunchly protected foretold the strategy of rematerialization that would characterize his future: he would become a pioneering Franciscan historian who organized and interpreted the vast collection of Catholic Church documents from the colonial period in New Mexico through the twentieth century. The author of two dozen books and over 600 shorter works, Fray Angélico Chávez (1910–1996) was a visual artist, literary figure, historian, genealogist, translator, and church restorer—one of New Mexico's foremost twentieth-century intellectuals.
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MACKIE, ANDREW S. Y., CLARE DALES, R. MICHAEL L. KENT, DAVID R. DIXON, RUFUS M. G. WELLS, and LYNDA M. WARREN. "Rodney Phillips Dales: influential annelid researcher, natural historian, editor, artist, gardener and architectural enthusiast (1927–2020)." Zoosymposia 19, no. 1 (2020): 10–26. http://dx.doi.org/10.11646/zoosymposia.19.1.5.
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Rodney Phillips Dales was born in Hornchurch, Essex on 15 January 1927. His father Sidney Phillips Dales was a Chartered Architect, his mother Muriel Emily (née Tattersall) kept the family home in the Squirrel’s Heath district, and frequently worked in her husband’s practice. Rodney and his brother Gordon (b. 1922) were raised in a strict Methodist family. They led a modest life, but one full of interest and diversion. Frequent trips to the seaside, and visits to buildings and artist friends of his father, helped shape Rodney’s interests and future career. He became fascinated by the diversity of the natural world and the wonderful architecture he encountered on his frequent bike rides into the Essex countryside.
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Voronov, Viktor I. "The Correspondence between Taras G. Shevchenko and Lazarevsky Brothers." Universum Historiae et Archeologiae 1, no. 1-2 (2019): 110. http://dx.doi.org/10.15421/2611813.
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The article analyzes epistolaries as one of communication means between famous Ukrainian poet and artist Taras G. Shevchenko and three elder brothers from Lazarevsky family (Vasil, Mykhailo and Fedir M.). These epistolaries have been published in the periodicals of the second half of XIX – the early XX centuries. The article also reviews some archaeographic editorials, devoted to T. G. Shevchenko and written by the other Lazarevsky family representative – О. М. Lazarevsky, famous historian and archaeographist. Consideration is also given to significative and informative fragments of memoirs about T. G. Shevchenko left by Fedir and Mykhailo Lazarevsky and published in “Kievskaya Starina”. The author distinguishes main directions, principles and highlights of such epistolary contacts and clarifies the role of this correspondence as well as the role of Lazarevsky brothers themselves in Shevchenko’s personal destiny. The author determines archival destiny of some original letters and the contribution of Shevchenko’s friends and familiars to the publication of them. It is also determined that some of original letters were published with the help of Shevchenko’s talent admirers, editorial boards and regular emloyees of the Osnova and the Kievskaya Starina periodicals, artists from the second half of XIX – the early XX centuries.
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Drakopoulou, Konstantina. "THE GRAFFITI COVERING OF THE NATIONAL TECHNICAL UNIVERSITY OF ATHENS AND ITS POLITICO-CULTURAL SYMBOLISM." ARTis ON, no. 5 (January 4, 2018): 159–67. http://dx.doi.org/10.37935/aion.v0i5.140.
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Artistic activity which violates urban space is based on the aesthetics of vandalism; it underscores the emergence of the artist as a guerrilla fighter and a defacer, reminiscent of art practices developed during the historical and the post-war avant-garde. The intervention of three graffiti artists, who completely covered the southern annex facades of the National Technical University of Athens’ neoclassical building with large-scale black and white abstract patterns in March 2015, can be understood within the framework of trauma theory and destruction art, as explained by the art historian Kristine Stiles.The writers’ choice to intervene in the Athens Polytechnic in the Exarcheia district―both traditional enclaves of political protest―as well as the morphology of the pieces themselves arising from bottom up mutual interactions with no underpinning organising principle, need to be interpreted on the basis of the political model of emergent democracy. The objective of this correlation is to exemplify how the graffiti writers’ self-organizing behaviour during the production of the works can be viewed within the workings of political movements. This brand of politics, the self-organizing of local communities and collectives, may prove to be extremely apt in recognizing and improving troubled domains of community life, especially today when Greeks are facing a traumatic crisis.
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Kaluher, Anna, and Olga Balashova. ""Criticism is about creating timeless acoustics": an interview with art historian Olga Balashova." Text and Image: Essential Problems in Art History, no. 2 (2020): 133–37. http://dx.doi.org/10.17721/2519-4801.2020.2.09.
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Olga Balashova - art historian, kmbs and KAMA lecturer, art critic, deputy director for the development of the National Art Museum of Ukraine (NAMU) in 2017-2020. The interview was recorded in February 2020 by assistant professor Anna Kaluger (Chair of Art History, Taras Shevchenko National University of Kyiv). This interview was conducted as part of the Ph.D. research "The structure of art criticism in Ukraine at the beginning of the XXI century." The discussion will focus on the definition of art criticism in the Ukrainian art context and its disciplinary boundaries. Olga Balashova talks about her career path as art historian and critic, determining for her theoretical influences, the school of art history at NAOMA, and her research priorities within the study of the history of criticism. Part of the interview focuses on the methods of teaching criticism in the humanities in the context of the internetization of criticism and the loss of its usual disciplinary basis - the history of art. It will also discuss the genre classification of criticism at the level of objects of study, in particular: the portrait of the artist, curatorial strategy, or phenomenological study of artistic events. The final part of the interview focuses on options for constructing the history of criticism in Ukraine: both the history of resources and the history of authors, the history of interpretations, and the history of methodological approaches.
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Pollock, Griselda. "Liquid culture, the art of life and dancing with Tracey Emin: A feminist art historian/cultural analyst’s perspective on Bauman’s missing cultural hermeneutics." Thesis Eleven 156, no. 1 (2020): 10–26. http://dx.doi.org/10.1177/0725513619898284.
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In this article I chart an indirect if not oblique path through my own theoretical formation as a social and feminist art historian, informed by Marxist cultural studies but deeply engaged with issues of difference and gender, to the response Zygmunt Bauman made to a book I gave him that I had reason to believe would resonate with his work. It did not. Indeed, my kind of theoretically informed visual and cultural analysis was indecipherable despite the influence of his writing after 1989 on my work. Gender was not a topic for Bauman. Feminist theory remained an impenetrable territory. Art (as opposed to culture) was not to be theorized. Yet, in his later work on liquid modernity, Bauman incorporated the idea that we are all now artists of life. Here I recognized an oblique and unjustified if not misdirected dismissal of the working-class British artist Tracey Emin. My article concludes with my reading of her video work, Why I Never Became a Dancer, which poignantly and defiantly exposes the social violence and violations of class, race and gender in British society which she experienced. I seek to demonstrate how Bauman’s acute, but often academically devalued, attentiveness to the vernacular and quotidian forms of cultural experience and its ability to register and reveal changing social forms and forces should have enabled him to see Emin’s work as equally acute and culturally significant.
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Zaatari, Akram. "History and photographic memory." Journal of Visual Culture 18, no. 2 (2019): 169–86. http://dx.doi.org/10.1177/1470412919864501.
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In this interview, artist Akram Zaatari reflects on his longstanding work with photographic heritage in the Middle East, North Africa and the Arab diaspora, and considers the different ways in which he has used photographs to illuminate and unfold historical truths. Charting divergencies and disagreements around issues of preservation that have arisen over the years within the Arab Image Foundation (of which he is one of the founders), Zaatari points out radical gestures of preservation that return photographs to the ‘living tissue’, the ‘larger ecosystem’ and a set of affective relations from which they had become detached. The far-ranging metaphor of archaeology that the artist employs to illuminate his practice also lends itself to describe the destructive nature of certain acts of collecting premised on ‘excessive accumulation’, of which the pillage of the archaeological heritage in the Middle East and North Africa in the late 18th and early 19th centuries is an emblematic example. Collecting, however, is also a tool for writing history and the displacement of photographs serves as a crucial step to reconfigure them within new narratives. Attentive to the changing nature of photographic archives, Zaatari frees photographs from fixed and prescribed readings, bringing new perspectives to bear on them without necessarily denying those former interpretations. Additional layers of historical information can be found nestling in details accidentally captured by the camera's lens, in signs of material damage or ‘worthy’ defects. In Zaatari’s hands, digital technologies are used to emphasize, not to occlude the traces of these material histories. In the folds of the archives, hidden narratives wait to be revealed and unfolded under the loving gaze of the artist, collector and historian.
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Demchuk, Stefaniia, and Koenraad Jonckheere. "“Art is not only beauty”: An Interview with Art Historian Koenraad Jonckheere." Text and Image: Essential Problems in Art History, no. 2 (2018): 98–105. http://dx.doi.org/10.17721/2519-4801.2018.2.06.
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Koenraad Jonckheere is associate professor in Northern Renaissance and Baroque Art at Ghent University. The interview was recorded in August 2017 by assistant professor Stefaniia Demchuk (Chair of Art History, Taras Shevchenko National University of Kyiv). In the first part, Prof. Jonckheere talks about his career path of art historian, his teachers and the most influential books. He explains how the scope of his interests shifted from the Seventeenth-Eighteenth century art markets towards Iconoclasm, its impact and the theoretical debates on the Sixteenth century art. His Ph.D. research on art markets was summarized and published in 2008 under the title “The Auction of King William’s paintings”. It was innovative because the author developed a new approach to work on art markets using auction catalogue. In 2012 appeared his monograph on experiments in decorum in the Antwerp Art after Iconoclasm. The next year he curated the exhibition on the Sixteenth century Romanist artist Michiel Coxcie for Museum M (Leuven). Since 2014 Prof. Jonckheere has been working as an Editor-in-Chief at the Centrum Rubenianum (Antwerp). His own research on Rubens resulted in a monograph titled “Corpus Rubenianum Ludwig Burchard: portraits after existing prototypes” (2016). Now Prof. Jonckheere is developing a new methodological approach towards historical interpretation of artworks, which he called the “Thimanthes effect”. This approach uses the rhetorical concept of “quaestio” as a guiding principle for interpretation. Prof. Jonckheere discusses it in the second part of the interview. The third part focuses on the Reformation art and Iconoclasm. Prof. Jonckheere points out main directions in contemporary research on the Reformation art and highlights issues that are still to be solved. The interview concludes with advices to early-career art historians.
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Butler, Richard. "The Anglo-Indian Architect Walter Sykes George (1881–1962): a Modernist Follower of Lutyens." Architectural History 55 (2012): 237–68. http://dx.doi.org/10.1017/s0066622x00000113.
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[Lutyens’s system of proportion] began the link between us, by a chance action of mine, within the first year of my meeting him. He would never discuss it. It was intensely personal to him. [… He once] spoke to a group of students. One asked ‘What is proportion?’ and he answered ‘God’.(Walter Sykes George to Hope Bagenal, January 1959)Walter Sykes George (1881–1962) (Fig. 1) was a remarkable Anglo-Indian architect. Obituaries in Indian and British journals cast him as a ‘Renaissance’ man: an artist, Byzantine archaeologist, architect, town planner, philosopher, historian, public intellectual, humanist, Modernist, even an Indian nationalist. He features prominently in one recent history of modern architecture in India, a rare accolade for an ‘Anglo-Indian’ architect — an architect born in Britain who practised and lived for much of his life in India.
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Cohen, Alan. "Mary Elizabeth Barber, Some Early South African Geologists, and the Discoveries of Diamonds." Earth Sciences History 22, no. 2 (2003): 156–71. http://dx.doi.org/10.17704/eshi.22.2.25055065g1263034.
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The second generation of those Britons who had emigrated to the Cape Colony of South Africa in 18201 included a number of people who had transcended the basic requirements of establishing a subsistence among the relatively inhospitable social, economic, and agricultural climate of their new homeland. They became interested in the scientific study of the nature of their surroundings and in their spare time became keen amateur natural historians, geologists, archaeologists, and ethnologists. Those more intrepid amongst them sought to explore the unknown interior and in the process discovered the vast mineral wealth of the country, in particular diamonds, gold, and coal. This article seeks to show how one small group of people based around Grahamstown in the Eastern Province of the colony were involved in some of these discoveries, and especially the early discovery of diamonds in the Transvaal. Most of the group were connected in some way with Mary Elizabeth Barber (1818-1899), the daughter of a British gentleman sheep-farmer who arrived in South Africa in 1820. She became a well-known contemporary artist, poet, and natural historian, corresponding with several leading British scientists such as Sir Joseph Hooker and Charles Darwin. Her scientific papers were published, amongst others, by the Linnean Society of London, the Entomological Society of London, and the South African Philosophical Society.
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Mezzatesta, Michael P. "The Façade of Leone Leoni's House in Milan, the Casa degli Omenoni: The Artist and the Public." Journal of the Society of Architectural Historians 44, no. 3 (1985): 233–49. http://dx.doi.org/10.2307/990074.
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Leone Leoni's house in Milan, the Casa degli Omenoni, is one of the city's most distinctive architectural landmarks. It has long earned the attention and admiration of visitors, particularly for its unusual façade decorated with six over-life-sized barbarian prisoners and two half-length caryatids flanking the central portal. Figures of this kind had never been seen on a house or palace façade before they appeared here. This article analyzes the sculptural and architectural sources of these figures as well as the architectural sources of the façade in general. The Casa degli Omenoni is placed within the context of the three major façade types at mid-century, in order to further clarify its innovative qualities. Finally, the iconology is discussed, with Leoni's dedication of the house to Marcus Aurelius seen in relation to the popularity of two books on the ancient emperor by the court historian of Charles V, Fray Antonio de Guevara. The prisoner motif is linked to the Persian Portico, and the famous frieze relief showing lions attacking a satyr is related to a similar device in Filarete's palace for the pseudonymous architect Onitoan Noliaver. It will be seen that Leoni presented himself to the public less as an artist than as a gentleman in the social camp of the Hapsburgs.
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Goodwin, Mary. "An Art Historian Encounters a Hybrid Global History at Home: Alfredo Ramos Martinez’s Designs for Sacred Spaces." Religion and the Arts 18, no. 1-2 (2014): 120–55. http://dx.doi.org/10.1163/15685292-01801008.
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Southern California’s hidden treasures include two church interiors containing elements designed by Alfredo Ramos Martinez (1871–1946). This Mexican-born artist trained in France, returned to take an activist role in Mexican revolutionary culture, and migrated to the United States in 1929. For sixteen years, his talents were in demand among members of the Hollywood elite. In 1934, he produced the fresco murals at the Santa Barbara Cemetery Chapel, a jewel of Spanish Revival architecture. His images crossed over traditional boundaries between the sacred and the profane. He created odes to human rights and suffering humanity, depicting Christ and his mother as indigenous peasants with dark-skinned New World ethnicity. A decade later in 1946, Ramos sketched designs for his final projects at St. John the Evangelist Church in Los Angeles: a series of stained glass windows representing fourteen multiethnic saints as well as incomplete oil painted Stations of the Cross that recall his earlier pictures of suffering humanity. The architectural setting—a modernist church with stripped-down forms and materials of concrete, steel, and neon—announces a radically transformed post-war industrial culture. The contrast of these two aesthetics, the Spanish Revival and the modernist, demonstrates an evolution in liturgical forms as Californians came to grips with global migrations and an evolving modernist identity.
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Stauss, Sebastian. "A crisis of the singers’ market? Shifting discourses on opera from vocal health to changes in the organization of work." Studies in Musical Theatre 14, no. 2 (2020): 207–20. http://dx.doi.org/10.1386/smt_00033_1.
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In the history of opera, singing has repeatedly been associated with states of crisis ‐ a term and concept traced back by historian Reinhart Koselleck from its origins to expanded meanings in the modern age. By adopting his findings on the medical and economic use of crisis, a delayed discourse surfaces regarding singers and singing. Concepts of crisis as choosing between alternatives, such as trust in vocal technique or medical treatment, flexibility or specialization in repertoire, have been established and maintained. However, the most recent developments make it necessary to consider the uncertainties instead of alternatives, as well as the shifting organizational and networking aspects of the opera industry, with artist managers and agents in special, triadic relations of varying order with the opera companies and the singers. Especially with the economic pressures on the opera companies increasing, the singers’ agencies are in a key position of securing engagements and career developments.
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Neves, Joana P. R. "Unskilled beauty or ugly truth? A dialogic study of the indexical line." Drawing: Research, Theory, Practice 6, no. 1 (2021): 15–31. http://dx.doi.org/10.1386/drtp_00048_1.
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A skilled drawing elicits an elevated aesthetic pleasure that we tend to call beauty. However, conceptual approaches to art influenced by science in association with technology subverted the discipline of drawing and notions of skill and beauty by focusing on the phenomenal world, including the human mind, in a more abstract and schematic way through an indexical line. The displacement of skill and beauty through the notion of a ‘truthful’ and perhaps even ethical line may pluralize beauty (the eternal regulator) and disable – literally – traditional notions of what the body can or should do. This study follows dialogically a number of indexical lines, from the art historian Pliny the Elder twenty-one centuries ago, to the deaf contemporary artist Christine Sun Kim (b. 1980) whose work explores the notations of sound through drawing, including Etienne-Jules Marey’s (1830–1904) graphic recording machines and Irma Blank’s (b. 1934) conceptual drawn writings.
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Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.
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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work helped stimulate Wach's early thinking about the relationship between religious experience and the theoretical, practical, and institutional expressions of that experience. Indeed, throughout his own scholarly writings Wach displays an irrepressible tendency toward combining religionswissenschaflich theorizing with aesthetic reflection, and toward encompassing literary, musical, and other artistic examples within the scope of data to be considered by scholars of religion. This article analyzes the development of that tendency in Wach's scholarship, paying special attention finally to his notion of the modern Western "emancipation of art" from religious influence. This notion, while reflecting a general optimism that characterizes his view of the diversifying, developmental course of numerous other religious and cultural phenomena over time, may ultimately be too strong or reductive for describing what has actually occurred over the past several centuries in the relation between artistic and religious phenomena.
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Troitiño, David Ramiro, and Archil Chochia. "Winston Churchill And The European Union." Baltic Journal of Law & Politics 8, no. 1 (2015): 55–81. http://dx.doi.org/10.1515/bjlp-2015-0011.
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Abstract Given Winston Churchill’s influence and achievement as a writer, historian, adventurer, soldier, artist, and politician, his participation in the European integration process is crucial to understanding the entire scope of the project in its origins. Churchill was a fundamental voice promoting the Franco-British Union, a promoter of the European Communities, and an active participant of the Congress of Europe, embryo of the Council of Europe. This article analyzes Churchill’s view of European integration through his political speeches, in particular those delivered in Zurich and in The Hague, his ideas about the League of Nations and the United Nations, his understanding of the British Empire, and the special relations between the UK and the USA. His participation in the process of uniting Europe in its early stages provides us with essential information about the original plans for the creation of a united Europe and understanding the traditional British approach to the EU, including the current position of the conservative government led by Cameron.
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Kuletin-Ćulafić, Irena. "Architectural work of Aleksandar Deroko: Beauty of emotional creativity." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 1–42. http://dx.doi.org/10.5937/saj1901001k.
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This paper studies significant and forgotten, but not less important, built and unrealised designs by Serbian architect Aleksandar Deroko. It seeks to achieve a continuous view in dealing with Deroko`s architectural work versus the historical discontinuity of political, territorial-geographic and social circumstances. It is impossible to separate Deroko as an architect from Deroko as a scholar, researcher, historian of architecture and art, an academic professor, painter, artist, writer, chronicler of his time, protector, conservator and historiographer of Serbian cultural heritage. The main aim of this paper is to apply comprehensive research approach within which his work in the field of architectural design will be considered in a complementary and pluralistic way. Deroko's architectural projects examined in their details and altogether represent distillate of Deroko's erudite personality, which casts shadow on relevant questions of Serbian history of architecture placement: How to understand it, observe and examine it, from Yugoslav or Serbian perspective, from the position of continuity or discontinuity, through characteristics of general or particular?
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Зубрий, Елена Станиславовна. "The role of Alexei Fatyanov in the formation of the Sukachev Irkutsk Regional Art Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 264–77. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.017.
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В данной статье автор вводит в научный оборот новые сведения о директоре Иркутского областного художественного музея имени В.П. Сукачева – А.Д. Фатьянове (1948–1977), опираясь как на архивные источники, так и на личные воспоминания. Имеющийся у автора материал для исследования личности А.Д. Фатьянова позволяет говорить о нем как о многогранной личности: художнике, искусствоведе, историке культуры, директоре музея, заслуженном работнике культуры РСФСР, Почетном гражданине города Иркутска (1990), участнике Великой Отечественной войны, общественном деятеле. In this article, the author introduces into scientific circulation new information about the director of the Sukachev Irkutsk Regional Art Museum – Alexei Fatyanov (1948–1977), relying on archival sources as well as personal memories. The material available to the author for the study of the Fatyanov personality allows to talk about him as a multi-faceted person: an artist, art critic, cultural historian, museum director, honored worker of culture of the RSFSR, Honorary Citizen of the city of Irkutsk (1990), a participant in the Great Patriotic War, and a public figure.
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Baigell, Matthew. "Clement Greenberg, Harold Rosenberg, and Their Jewish Issues." Prospects 30 (October 2005): 651–64. http://dx.doi.org/10.1017/s0361233300002210.
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Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.