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).

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.

The “Global” Contemporary Art Canon and the Case of China

ARTMargins ◽  
2014 ◽  
Vol 3 (3) ◽  
pp. 77-97
Author(s):  
Francesca Dal Lago
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Museum Of Modern Art ◽  
Chinese Art ◽  
American Modernism ◽  
Chinese Contemporary Art ◽  
Primary Documents ◽  
English Speaking ◽  
Academic Painting ◽  
Art Canon

This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.

Rothko, Mark (1903-1970)

2018 ◽  
Author(s):  
David Hodge
Keyword(s):  
New York ◽  
Native American ◽  
American Art ◽  
Museum Of Modern Art ◽  
New York School ◽  
Native American Art ◽  
Metropolitan Museum Of Art ◽  
Four Seasons ◽  
The Us ◽  
Mark Rothko

Mark Rothko is one of the most celebrated painters from a group that matured in the US of the 1940s, later dubbed ‘The New York School’. His work became increasingly famous in the US and Europe during the 1950s, and his status was solidified by a large retrospective at the Museum of Modern Art in New York in 1962. Rothko began his career as a figurative painter. From 1938, he produced an innovative style that drew on Surrealism and incorporated disparate sources from ancient Greek and Native American art to Biblical imagery. After 1945 his paintings became increasingly abstract, moving towards the style that he is most associated with today. These works involve soft, cloud-like rectangles of colour, painted in multiple layers, which produce the appearance of glowing, shimmering light. Rothko had an uneasy relationship with art critics, collectors, and institutions. In 1950, he was amongst a group known as ‘The Irascibles’, who protested that a juried exhibition of contemporary works at the Metropolitan Museum of Art was hostile to ‘advanced art.’ In 1958, he reneged on a major commission to produce murals for the Four Seasons Hotel in New York, deciding that its atmosphere was inappropriate.

Visual Music after Cage: Robert Breer, expanded cinema and Stockhausen's Originals (1964)

2012 ◽  
Vol 17 (2) ◽  
pp. 163-169
Author(s):  
Andrew V. Uroskie
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
New Materials ◽  
Avant Garde ◽  
Visual Music ◽  
Expanded Cinema ◽  
New Vision ◽  
The Aesthetic

Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling of the static and the temporal arts. Like many artists of the twentieth century, Robert Breer was fascinated by the aesthetic and philosophical character of movement. Trained as a painter, he turned to cinematic animation as a way of extending his inquiry into modernist abstraction. While the success of his initial Form Phases spurred what would be a lifelong commitment to film, Breer quickly grew frustrated with the kind of abstract animation that might be said to characterise the dominant tradition of visual music. Starting in 1955, his Image by Images inaugurated a radical new vision of hyperkinetic montage that would paradoxically function at the threshold of movement and stasis. As such, Breer's film ‘accompaniment’ to the 1964 production of Stockhausen's Originals has a curious status. While untethered from the musical performance, Breer's three-part ‘film performance’ extended Stockhausen's aesthetic and conceptual framework in rich and surprising ways. It might thus be understood as a ‘post-Cagean’ form of visual music, one in which the sonic and visual components function in a relation of autonomous complementarity within an overarching intermedia assemblage.

Developing NYARC: the New York Art Resources Consortium

2011 ◽  
Vol 36 (3) ◽  
pp. 25-30
Author(s):  
Stephen Bury
Keyword(s):  
New York ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Metropolitan Museum ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
History Of ◽  
Brooklyn Museum

NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

Foreign Trade Regimes and Economic Development: India. By Jagdish N. Bhagwati and T.N. Sirinivasan. New York Columbia University Press (Published by the National Bureau of Economic Research 1975) 261 pages.

1977 ◽  
Vol 16 (1) ◽  
pp. 112-114
Author(s):  
Abdur Razzaq Shahid
Keyword(s):  
New York ◽  
Economic Development ◽  
Foreign Trade ◽  
Developed Countries ◽  
Exchange Rate Policy ◽  
Economic Research ◽  
National Bureau ◽  
Columbia University ◽  
The Government ◽  
Exchange Control

This volume on India is one of a series of research projects on exchange control, liberalization, and economic development, undertaken for many less developed countries. The study deals with three major topics: exchange control, liberalization, and growth. First, under 'The Anatomy of Exchange Control', the methods of allocation and intervention in the foreign trade and payments practised by the government during the restrictive period 1956-66 and their economic impact are discussed. Then, a detailed analysis of the 'Liberalization Episode' which covers the policies in the period 1966-68, including the June 1966 devaluation, and the episode's effect on price level, economic activity, and exports is given. Finally, the overall growth effects of the foreign trade regime (broadly defined as exchange rate policy plus the frame-work of relevant domestic policies such as industrial licensing), and their possible contribution to India's rather unsatisfactory economic performance are examined.

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.

scholarly journals Looking for Agency in Transnational Refugee Trajectories during the Second World War - Eric T. Jennings. Escape from Vichy: The Refugee Exodus to the French Caribbean. Cambridge, Mass.: Harvard University Press, 2018. 308 pages. ISBN: 9780674983380, $36. - Megan Koreman. The Escape Line: How the Ordinary Heroes of Dutch-Paris Resisted the Nazi Occupation of Western Europe. New York: Oxford University Press, 2018. 410 pages. 9780190662271, $29,95. - Joanna Newman. Nearly the New World: The British West Indies and the Flight from Nazism, 1933–1945. New York: Berghahn Books, 2019. 306 pages. 9781789206494, $29,95.

Itinerario ◽  
2021 ◽  
Vol 45 (1) ◽  
pp. 174-187
Author(s):  
Rosa de Jong
Keyword(s):  
New York ◽  
West Indies ◽  
Western Europe ◽  
New World ◽  
French Caribbean ◽  
British West Indies ◽  
Oxford University ◽  
Jewish Refugees ◽  
The Government ◽  
Flight Route

AbstractThe authors of three recent monographs, The Escape Line, Escape from Vichy, and Nearly the New World, highlight in particular the relevance of transnational refugee and resistance networks. These books shed new light on the trajectories of refugees through war-torn Europe and their routes out of it. Megan Koreman displays in The Escape Line the relevance of researching one line of resistance functioning in several countries and thereby shifts from the common nationalistic approach in resistance research. In Escape from Vichy Eric Jennings researches the government-endorsed flight route between Marseille and Martinique and explores the lasting impact of encounters between refugees and Caribbean Negritude thinkers. Joanna Newman explores the mainly Jewish refugees who found shelter in the British West Indies, with a focus on the role of aid organisations in this flight.

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