Inca Aesthetics and Scholarly Inquiry

2018 ◽  
Author(s):  
Adam Herring
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Material Culture ◽  
Art History ◽  
The United States ◽  
Historical Narratives ◽  
Art Historians ◽  
Scholarly Inquiry ◽  
Andean Culture

This chapter discusses the interpretive challenges that art historians and anthropologists have faced in approaching Inca intellectual and artistic achievements, which do not fit comfortably in Western categories. George Kubler took up the question of Inca art in the mid-twentieth century, creating a space in art history for studying the Incas. This development occurred at a time when archaeologists such as John Rowe worked to place the Incas within the broader context of Andean civilizations, and structuralists like Tom Zuidema were beginning to challenge historical narratives in search of underlying elements of Andean culture. The scholarly interest in Inca art, material culture, and intellect was but one aspect of the Inca focus of that time, as artists found inspiration in Inca ruins and museum galleries in the United States, and other countries began to exhibit Inca artifacts as an art to be approached on its own terms.

Considering the future of art bibliography: the FAB initiative

2011 ◽  
Vol 36 (3) ◽  
pp. 10-14 ◽  
Author(s):  
Kathleen Salomon
Keyword(s):  
United States ◽  
Art History ◽  
The United States ◽  
History Of Art ◽  
The Future ◽  
Art Historians ◽  
History Of ◽  
Review Current ◽  
Research Institute ◽  
Current Practices

The Future of Art Bibliography (FAB) initiative developed out of various conversations among colleagues in the United States and Europe. Events in the art historical community, including limited funding resources for art libraries and projects internationally, and the cessation of the Getty’s support for the production of the Bibliography of the history of art (BHA) provided the catalyst for the Kress Foundation grant to the Getty Research Institute. A series of international meetings of art librarians, art historians, publishers and information specialists ensued. The goal was to review current practices, take stock of changes, and seriously consider developing more sustainable and collaborative ways of supporting the bibliography of art history in the future.

Introduction

2017 ◽  
Author(s):  
Matthew J. Cressler
Keyword(s):  
United States ◽  
Twentieth Century ◽  
African American ◽  
African Americans ◽  
The United States ◽  
Historical Narratives ◽  
Color Line ◽  
African American Religion ◽  
Black Catholics ◽  
Catholic History

This chapter begins with the ten Black bishops declaring in 1984 that Black Catholics should be “authentically Black and truly Catholic.” It contrasts this statement with the story of Mary Dolores Gadpaille, who argued in 1958 that Catholicism “lifted her up above the color line.” It juxtaposes these two examples in order to introduce readers to the central questions that govern the book. Why did tens of thousands of African Americans convert to Catholicism in the middle decades of the twentieth century? What did it mean to be Black and Catholic in the first half of the twentieth century and why did it change so dramatically in the thirty years that separated Gadpaille from the bishops? How would placing Black Catholics at the center of our historical narratives change the ways we understand African American religion and Catholicism in the United States? The chapter situates the book in scholarship and briefly introduces readers to Black Catholic history writ large.

Standard Bearers: Material Culture and Middle-Class Communities at the Turn of the Twentieth Century

2000 ◽  
Vol 1 (4) ◽  
pp. 693-698 ◽  
Author(s):  
Marina Moskowitz
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Material Culture ◽  
Cultural History ◽  
Consumer Culture ◽  
The United States ◽  
Business History ◽  
Department Stores ◽  
Marketing Department ◽  
Nineteenth And Twentieth Centuries

A generation of historians, working at the intersection of business history and cultural history, has examined the consumer culture that flourished in the United States in the nineteenth and twentieth centuries. In studies of advertising, marketing, department stores, credit systems, and other aspects of selling and buying, these scholars have shown that American businesses not only produced consumer goods but also created consumer desire.

scholarly journals Americocentrism and Art of the Caribbean: Contours of a Time–Space Logic

2013 ◽  
Vol 47 (2) ◽  
pp. 417-438 ◽  
Author(s):  
LEON WAINWRIGHT
Keyword(s):  
United States ◽  
Contemporary Art ◽  
African Diaspora ◽  
Art History ◽  
Modern Art ◽  
The United States ◽  
Historical Narratives ◽  
Time Space ◽  
The Caribbean ◽  
Space Logic

Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.

‘Under the Gallic Spell’: Boston's Embrace of Gabriel Fauré, 1892–1924

2021 ◽  
pp. 1-18
Author(s):  
Heather de Savage
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Twentieth Century ◽  
The United States ◽  
Turn Of The Century ◽  
Historical Narratives ◽  
Musical Life ◽  
Gabriel Faure ◽  
Twentieth Century Music ◽  
Nadia Boulanger

French influence on American twentieth-century music has long been central to historical narratives, particularly in relation to Nadia Boulanger and her pupils from the 1920s onward. Yet the much earlier impact of Gabriel Fauré (1845–1924), Boulanger's own teacher, has been largely ignored. While most American audiences around the turn of the century were largely unfamiliar with Fauré, Boston embraced his music enthusiastically. By the 1890s, a growing Francophile aesthetic reflected in the city's musical life encouraged performances of French repertoire, and a remarkable number of Fauré's compositions were introduced, some heard frequently enough to become well known to local audiences. Many of Boston's most influential critics, educators, performers and patrons admired Fauré and advocated for him as a representative modern French composer. That his music was so warmly welcomed in Boston at the end of the nineteenth century without any overt self-promotion by the composer has not been widely known until now. Although Fauré never visited the United States, his music found a home away from home in Boston, both while he was still living and well beyond.

The Insidious Momentum of American Mass Incarceration

2020 ◽  
Author(s):  
Franklin E. Zimring
Keyword(s):  
United States ◽  
Public Policy ◽  
Twentieth Century ◽  
Mass Incarceration ◽  
The United States ◽  
Next Generation ◽  
Single Generation ◽  
American Life ◽  
Peak Rate ◽  
Or Practice

The phenomenal growth of penal confinement in the United States in the last quarter of the twentieth century is still a public policy mystery. Why did it happen when it happened? What explains the unprecedented magnitude of prison and jail expansion? Why are the current levels of penal confinement so very close to the all-time peak rate reached in 2007? What is the likely course of levels of penal confinement in the next generation of American life? Are there changes in government or policy that can avoid the prospect of mass incarceration as a chronic element of governance in the United States? This study is organized around four major concerns: What happened in the 33 years after 1973? Why did these extraordinary changes happen in that single generation? What is likely to happen to levels of penal confinement in the next three decades? What changes in law or practice might reduce this likely penal future?

Orientalized Aztecs: Observations on the Americanization of Theatrical Dance

2019 ◽  
Vol 51 (2) ◽  
pp. 35-50
Author(s):  
K. Mitchell Snow
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Manifest Destiny ◽  
The United States ◽  
United States Policy ◽  
Ballets Russes

The opening decades of the twentieth century saw a passing fashion for “Aztec” dancing in the vaudeville theaters of the United States. Russian classical dancers Kosloff and Fokine tapped the orientalist currents of the Ballets Russes, adopting the Aztec as superficial signs of the American. Conversely, works by Shawn and film director Cecil B. DeMille, which served as points of reference for the Russians, represented a continuation of equally orientalist attitudes toward Mexico's past, forged during the realization of the United States’ policy of Manifest Destiny. The emergence of a cadre of trained dancers from Mexico, trained by students of Kosloff and Shawn, would bring a distinctively different perspective on the presentation of their heritage to the dance stage, one that was no longer based in the imagination of an expansionist America.

A Century of America on Chinese Screens

2010 ◽  
Vol 17 (4) ◽  
pp. 305-323 ◽  
Author(s):  
Zhiwei Xiao
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Print Media ◽  
The United States ◽  
Sharp Contrast ◽  
American People ◽  
Early Twentieth Century ◽  
History Of ◽  
Chinese Films ◽  
New Millennium

AbstractNo serious study has been published on how Chinese filmmakers have portrayed the United States and the American people over the last century. The number of such films is not large. That fact stands in sharp contrast not only to the number of "China pictures" produced in the United States, which is not surprising, but also in contrast to the major role played by Chinese print media. This essay surveys the history of Chinese cinematic images of America from the early twentieth century to the new millennium and notes the shifts from mostly positive portrayal in the pre-1949 Chinese films, to universal condemnation during the Mao years and to a more nuanced, complex, and multi-colored presentation of the last few decades.

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