scholarly journals Swedish Art History: A Selection of Introductory Texts

2019 ◽  
Vol 88 (3) ◽  
pp. 156-159
Author(s):  
Renja Suominen-Kokkonen
Keyword(s):  
Art History ◽  
Selection Of

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

scholarly journals A Note from the New Book Review Editor

2019 ◽  
Vol 12 (1) ◽  
pp. 129-130
Author(s):  
Manlio Della Marca
Keyword(s):  
Media Studies ◽  
Art History ◽  
High Quality ◽  
Review Section ◽  
Wide Range ◽  
The World ◽  
Review Editor ◽  
The U.S ◽  
Selection Of

Starting with this issue, our journal will include a completely redesigned Book Review Section, featuring three to five high-quality reviews by leading and emerging scholars from around the world. As for the selection of the books to be reviewed, even though I am a literary scholar, it is my intention as Review Editor to consider books that engage with the U.S. and the Americas as a hemispheric and global phenomenon from a wide range of perspectives and disciplines, including anthropology, art history, and media studies.

scholarly journals Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 87-104
Author(s):  
Ileana L. Selejan
Keyword(s):  
New York ◽  
Latin America ◽  
Eastern Europe ◽  
Art History ◽  
Modern Art ◽  
Cross Cultural ◽  
Museum Of Modern Art ◽  
Selection Of

By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.

Holistically Modelling the Medieval Book: Towards a Digital Contribution

2021 ◽  
Vol 139 (1) ◽  
pp. 6-31
Author(s):  
Peter A. Stokes
Keyword(s):  
Art History ◽  
Complete Model ◽  
Or Education ◽  
Holistic View ◽  
Modern Culture ◽  
Unconscious Selection ◽  
Literature History ◽  
A Site ◽  
Selection Of

Abstract The book has long played an important role in medieval and indeed modern culture, being at the same time a carrier of texts and images, a sign potentially of wealth and/or education, a site of enquiry for modern scholarship for literature, history, linguistics, palaeography, codicology, art history, and more. The ‘archaeology of the book’ can tell us about its history (or biography) as well as the cultures that produced and used it, right up to its present ownership. This multidimensionality of the object has long been known, but it has also proven a challenge to digital approaches which (like all representations) are by their nature models that involve conscious or unconscious selection of particular aspects, and that have been more successful in some aspects than others. This then raises the question to what degree these different viewpoints can be brought together into something approaching a holistic view, while always allowing for the tension between standardisation and innovation, and while remembering that a ‘complete model’ is a tautology, neither possible nor desirable.

Modes of Making Art History

2015 ◽  
Vol 1 ◽  
Author(s):  
Maria Bremer
Keyword(s):  
Case Studies ◽  
Art History ◽  
Historical Study ◽  
Art Historians ◽  
Selection Of ◽  
Making Art

As art history further questions its fundamentals, the exhibition format continues to lose its neutrality. In the preface to the second volume of his compendium, Biennials and Beyond – Exhibitions that made art history: 1962–2002, Bruce Altshuler leads the increasing interest by art historians for exhibitions back to the insight that “exhibitions bring together a range of characters, who, exercising varied intentions in diverse circumstances, generate so much of what comes down to us as art history.”[1] However, the academic rewriting of selected shows is itself subjected to norms which, given their canonizing effects, must be taken into consideration. This article does not intend to question the art historical study of exhibitions tout court. Rather, it criticizes the selection of case studies according to a logic of masterpieces while excluding exhibitions which are regarded as not having made art history. In fact, the different modes by which exhibitions can shape art history require further analysis, eventually casting new light on events which have not hitherto entered the canon of relevant shows.

Drawing w/Digits_Painting w/Pixels: Selected Artworks of the Gesture over 50 Years

Leonardo ◽  
2013 ◽  
Vol 46 (2) ◽  
pp. 163-169 ◽  
Author(s):  
Maureen Nappi
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Hand Gesture ◽  
Visual Artists ◽  
History Of ◽  
Selection Of ◽  
Light Pen

This paper selectively traces the art history of the gesture in drawing and painting with electronic painting systems/programs. Beginning with Ivan Sutherland's Sketchpad (1963), which mechanized the hand gesture via light pen; Richard Shoup's SuperPaint system (1973), with the Summagraphics tablet and stylus; the Quantel Paintbox (1983); and the Macintosh (1984), the author concludes with a review of contemporary finger painting via capacitive touchscreens in the iPhone and iPad. A selection of nine classically trained visual artists who have sought to expand their work by creating art via the computer while heuristically inventing unique ways of working reveals the genesis of a hybrid vocabulary for the visual arts.

The Discovery and Saving of the Tournai Font at the Collegiate Church of Saint-Vincent, Soignies, Belgium

2004 ◽  
Vol 84 ◽  
pp. 371-380
Author(s):  
C S Drake
Keyword(s):  
Twelfth Century ◽  
Art History ◽  
Master's Degree ◽  
Northern Europe ◽  
South West ◽  
Master’S Degree ◽  
The University ◽  
The Church ◽  
Selection Of

In 1991 the author completed research for his dissertation on the twelfth-century Tournai fonts for a Master's degree in Art History at the University of Essex. Based on this research, his first published article sought to update the paper by our Fellow G C Dunning. In 1997, during his research for The Romanesque Fonts of Northern Europe and Scandinavia, the author discovered and published further information about the products of the Tournai School. Among the fonts listed in the author's 1993 paper were the ‘fragments’ at Soignies, known to be built into the fabric of the church. Late in 2003 his attention was drawn to a monograph published by the Chapter Museum of the collegiate church of Saint-Vincent, Soignies (about 16km south west of Brussels), detailing the recovery, conservation and subsequent display of the font bowl. This article has been pieced together from the three sections of that monograph and we are indebted to the Museum, and to the scholars whose articles make up the monograph, for permission to use their material and a selection of their illustrations.

Medialatinitas

2020 ◽  
Keyword(s):  
Middle Ages ◽  
Art History ◽  
Old French ◽  
Chronological Order ◽  
Medieval Latin ◽  
Selection Of

This volume edited by Christine Ratkowitsch contains a selection of revised versions of some of the lectures delivered at the 8th International Medieval Latin Congress ("Medialatinitas", Vienna 2017). It aims to capture the intellectual program of the congress, the connection of Medieval Latin to other fields. The first three contributions are each dedicated – in chronological order – to one work of the Latin Middle Ages or Early Humanism and its respective relationship to ancient sources. Seven other contributions show the connection to Theology, Philosophy/Art History (Bernard of Clairvaux), Byzantine Studies, as well as German, Old French, English and Slavic Literature.

scholarly journals The Qu'ran Manuscripts in the al-Haram al-Sharif Islamic Museum, Jerusalem

2003 ◽  
Vol 20 (3-4) ◽  
pp. 186-188
Author(s):  
Devin Stewart
Keyword(s):  
North Africa ◽  
Art History ◽  
Tenth Century ◽  
Background Information ◽  
Architectural Elements ◽  
Textual History ◽  
History Of ◽  
The Common ◽  
Arabic Calligraphy ◽  
Selection Of

Founded in 1922 and moved to al-Haram al-Sharif in 1929, the IslamicMuseum in Jerusalem houses artifacts covering nearly all oflslamic historyand originating in North Africa, Turkey, Iran, Central Asia, and theMiddle East.This beautifully illustrated volume, published with the support ofUNESCO in both English and Arabic, treats a small part of the Museum'scollection: a selection of its Qur'an manuscripts. The work, divided intothree parts, first introduces the Islamic Museum and its collection, thenprovides background information concerning relevant textual and art history,and finally presents 3 I Qur'an manuscripts in detail.Part One, "The Islamic Museum," gives an overview of theMuseum's holdings, including wood, metalwork, ceramics, glass, tex tiles,coins, stone inscriptions and architectural elements, and documents.Most of the artifacts are material salvaged from repairs to the haram areaor objects from the endowments of the Aqsa mosque and madrasahs inJerusalem, Nablus, and Hebron. The collection includes many exquisitepieces: Umayyad floral woodwork panels from the al-Aqsa Mosque, astriking glass mosque lamp of the Mamluk amir Tankiz from Hebron, andthe salvaged remains of Nur al-Din's pulpit, built in Aleppo in 564/1168and brought to the Aqsa Mosque in 583/1187 by Salah al-Din after hisconquest of Jerusalem. (Unfortunately, the ornate wooden pulpit wasnearly destroyed by arson in I 969.)Part Two, "Background," treats Arabic calligraphy, illumination,bindings, and the textual history of the Qur'an. Kufic, an old, squarescript said to derive from stone inscriptions, is used for the text of the old estQur'an manuscript in the collection and for headings and panels inlater manuscripts.The bulk of the manuscripts are written in the more cursive Naskhiscript, which became popular by the tenth century, and the similar buttaller Thuluth and Muhaqqaq. A number of the collections manscriptsfrom North Africa are written in Maghribi script, which derives fromKufic and differs significantly from the common eastern scripts. This volumeallows the reader to view some stunning examples of illumination ...

Cognitive gadgets and cognitive priors

2019 ◽  
Vol 42 ◽  
Author(s):  
Gian Domenico Iannetti ◽  
Giorgio Vallortigara
Keyword(s):  
Cognitive Neuroscience ◽  
Selection Of

Abstract Some of the foundations of Heyes’ radical reasoning seem to be based on a fractional selection of available evidence. Using an ethological perspective, we argue against Heyes’ rapid dismissal of innate cognitive instincts. Heyes’ use of fMRI studies of literacy to claim that culture assembles pieces of mental technology seems an example of incorrect reverse inferences and overlap theories pervasive in cognitive neuroscience.

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