Untimely Love: The Aesthetics and Politics of Anachronism in The Age of Innocence

2020 ◽  
Vol 53 (2) ◽  
pp. 254-273
Author(s):  
John Sampson
Keyword(s):  
New York ◽  
Aesthetics And Politics ◽  
Free Love ◽  
Central Park ◽  
Metropolitan Museum Of Art ◽  
Modern Novel ◽  
Political Implications ◽  
The Age Of Innocence ◽  
The Aesthetic ◽  
Emma Goldman

Abstract “Untimely Love” reassesses the aesthetic choices and political implications of Edith Wharton's The Age of Innocence (1920), first by highlighting a surprising overlap between Wharton and the anarcho-feminist Emma Goldman. Wharton's novelistic critique of New York society's marriage rituals, spurred by an unconsummated affair between Newland Archer and his wife's cousin Ellen Olenska, follows Goldman in positing an antagonism between the hierarchies of marriage and the equalizing nature of love. For Wharton, however, this antagonism will not be resolved with free love one day triumphing. To explain her position, the article turns to Jacques Rancière's unresolvable antagonism between “politics” and “the police,” which has an aesthetic analogue in the clash between the formally anarchic modern novel and premodern hierarchies of genre. Wharton unearths 1870s New York like an archeologist to expose how its patriarchal logic polices women's sexuality within and outside marriage, making expressions of love quite rare. Wharton unleashes the disruptive power of love through formal experimentation, temporarily subverting her own historical realism, when she has Ellen and Archer visit the Metropolitan Museum of Art in Central Park, which did not yet exist in the novel's timeframe. The Met's impossible location and its uncataloged holdings open to public viewing upset New York's social and aesthetic hierarchies. It is in this anachronistic and democratic context that Archer first sees “love visible” in the world, rearranging his entire worldview. Wharton, in a related political gesture of aesthetic dissensus, aligns her untimely lovers with the museum's suddenly visible ghosts of history.

scholarly journals Spanning the archive and the museum : Timothy O'Sullivan's King Survey photographs

2021 ◽  
Author(s):  
Emily M Shutt
Keyword(s):  
New York ◽  
Hot Springs ◽  
Museum Of Modern Art ◽  
Metropolitan Museum Of Art ◽  
National Archives ◽  
Art Canon ◽  
The Government ◽  
College Park ◽  
The Aesthetic ◽  
Ansel Adams

Originally created as documents of the government surveys in the 1860s-1870s, Timothy O'Sullivan's photographs were rediscovered in the mid-twentieth century by museum curators, artists and scholars, many of whom argued for O'Sullivan's artistic genius, uniqueness and his proto-modernist compositions. His early champions were the artist Ansel Adams and curator Beaumont Newhall, but others argued for the aesthetic importance of his work at the end of the century, including scholars Joel Snyder, Robin Kelsey, and Museum of Modern Art curator Peter Galassi. In the early 1980s, Rosalind Krauss argued against the notion that O'Sullivan should be included in the photographic art canon in her 1982 article, "Photography's Discursive Spaces: Landscape/View" in Art Journal. This thesis focuses on the changing reception and the functions of O'Sullivan's photographs by an examination of different examples of one photograph, O'Sullivan's "Sioux Hot Springs", held at the Metropolitan Museum of Art (New York, New York), the National Archives Still Picture Unit (College Park, Maryland), and the George Eastman House (Rochester, New York).

scholarly journals Spanning the archive and the museum : Timothy O'Sullivan's King Survey photographs

2021 ◽  
Author(s):  
Emily M Shutt
Keyword(s):  
New York ◽  
Hot Springs ◽  
Museum Of Modern Art ◽  
Metropolitan Museum Of Art ◽  
National Archives ◽  
Art Canon ◽  
The Government ◽  
College Park ◽  
The Aesthetic ◽  
Ansel Adams

Originally created as documents of the government surveys in the 1860s-1870s, Timothy O'Sullivan's photographs were rediscovered in the mid-twentieth century by museum curators, artists and scholars, many of whom argued for O'Sullivan's artistic genius, uniqueness and his proto-modernist compositions. His early champions were the artist Ansel Adams and curator Beaumont Newhall, but others argued for the aesthetic importance of his work at the end of the century, including scholars Joel Snyder, Robin Kelsey, and Museum of Modern Art curator Peter Galassi. In the early 1980s, Rosalind Krauss argued against the notion that O'Sullivan should be included in the photographic art canon in her 1982 article, "Photography's Discursive Spaces: Landscape/View" in Art Journal. This thesis focuses on the changing reception and the functions of O'Sullivan's photographs by an examination of different examples of one photograph, O'Sullivan's "Sioux Hot Springs", held at the Metropolitan Museum of Art (New York, New York), the National Archives Still Picture Unit (College Park, Maryland), and the George Eastman House (Rochester, New York).

scholarly journals A Squeeze of the Hand

2019 ◽  
Vol 3 (1) ◽  
pp. 1-9
Author(s):  
Jon Cotner
Keyword(s):  
New York ◽  
New York City ◽  
Health Food ◽  
Central Park ◽  
Metropolitan Museum Of Art ◽  
Metropolitan Opera ◽  
Health Food Store ◽  
Japanese Word ◽  
Union Square ◽  
Prospect Park

We recorded forty-five-minute dialogues for thirty straight days around New York City. Half these talks took place at a Union Square health-food store that we call “W.F.” Other locations included MoMA, the Metropolitan Museum of Art, the Metropolitan Opera House, Central Park, Prospect Park, and a Tribeca parking garage. What follows is our twentieth conversation. Here sickness, emptiness, a train delay, and an argument seem to prefigure disaster and the project’s sudden end. But this disaster—much like the two-character Japanese word for “crisis”: the first one meaning “danger,” the second, “opportunity”—offers clarities perhaps best expressed by a Japanese proverb:Luck turns Wait

Die Konstruktion von Natur – Central Park neu besichtigt | The Construction of Nature – Central Park Revisited

2005 ◽  
Vol 156 (8) ◽  
pp. 288-296
Author(s):  
Vittorio Magnago Lampugnani
Keyword(s):  
New York ◽  
Hudson River ◽  
The United States ◽  
Central Park ◽  
Housing Developments ◽  
Hudson River School ◽  
The North ◽  
Man And Nature ◽  
The 19Th Century ◽  
The Relationship

In the first half of the 19th century scientific philosophers in the United States, such as Emerson and Thoreau, began to pursue the relationship between man and nature. Painters from the Hudson River School discovered the rural spaces to the north of New York and began to celebrate the American landscape in their paintings. In many places at this time garden societies were founded, which generated widespread support for the creation of park enclosures While the first such were cemeteries with the character of parks, housing developments on the peripheries of towns were later set in generous park landscapes. However, the centres of the growing American cities also need green spaces and the so-called «park movement»reached a first high point with New York's Central Park. It was not only an experimental field for modern urban elements, but even today is a force of social cohesion.

Soils of Central Park in New York City

Soil Horizons ◽  
1984 ◽  
Vol 25 (4) ◽  
pp. 18 ◽  
Author(s):  
Gerald W. Olson
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Central Park

On white marble half-lotus meditation statues carved in Wuding Era of the Eastern Wei Dynasty

2019 ◽  
Vol 19 (1) ◽  
pp. 182-194
Author(s):  
Hyun-Sook So
Keyword(s):  
New York ◽  
Comparative Study ◽  
Metropolitan Museum ◽  
White Marble ◽  
City Area ◽  
Metropolitan Museum Of Art ◽  
Right Hand ◽  
Second Year ◽  
Made In ◽  
Wei Dynasty

Abstract In 2012, large amounts of white marble Buddhist statues of the Eastern Wei and Northern Qi Dynasties were unearthed from the Buddhist sculpture hoard at Bei Wuzhuang in Ye City Site. This paper makes a comparative study on a bodhisattva statue in meditation seated in half-lotus posture (resting right ankle on the knee of pendent left leg and holding right hand upward) among them and another sculpture of the same type and made in the same period unearthed at the Xiude Monastery site in Dingzhou; from the double-tree, stupa and coiling dragon designs shown by them, this paper explores the commonalities and differences of the Buddhist arts in these two areas. Moreover, this paper reveals that this motif emerged earlier in the Ye City area than in the Dingzhou area, and diffused to the latter after it became popular in the Ye City area. By these conclusions, this paper infers that the white marble meditating statue seated in half-lotus position with the date of the second year of Wuding Era (544 CE) in the collection of the Metropolitan Museum of Art in New York, USA was produced in Ye City area.

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