Virginia S. Poston, Instructor, University of Southern Indiana

Ancient Art Ancient Arti

Archaic and Early Classical Amazons: More Than Just ―Bad Girls‖ and ―Persian Envisioning the Unseen: Sisyphos in Chthonic Landscape Proxies‖? Elizabeth Wolfson, Ph.D. Candidate, University of Missouri Virginia S. Poston, Instructor, University of Southern Indiana

Ancient authors translate Aidēs, or Hades, a term that designated both the Underworld

With recent revisions to archaeological interpretations and social theory as it relates to art realm and its ruler as ―invisible.‖ This implies that Hades was both physically and psycho- history, a fresh examination of the changing roles and representations of Amazons in Archa- logically inaccessible to the living. How, then, did ancient artists undertake the task of rep- ic and Early Classical Greek art is in order. It has become axiomatic to view images of Am- resenting a place that could not be seen? Unlike authors such as Homer who described the azons as mythic representations of the Persians in the wake of the Persian wars and especial- realm using geographic landmarks like fiery rivers and fields of asphodel, artists used living ly the sack of Athens. It has also long been noted that Attic black-figure Amazons look far topography, or the mythological characters who resided inside the realm. While there are more like Greek warriors than do their later red-figure cousins and that Theseus replaced many denizens of the underworld, an iconographic study of chthonic vase paintings shows Herakles as the pre-eminent fighter of Amazons in Attic art. This latter switch is often seen that the character considered best suited to the role of indicator was Sisyphos. He was de- as the result of the new Athenian democracy seeking new imagery at the end of the 6th cen- picted prior to and more frequently than other toilsome souls, his image spans the longest th st tury BC. Recent proposals regarding the dating of vases of the Pioneer Group and the Athe- amount of time (from the 6 to the 1 centuries BCE), and his secondary presence is usual- nian Treasury at Delphi raise interesting possibilities concerning the inspiration for such ly unrelated to the larger plot or story being depicted. While the Greek mainland‘s Si- th significant iconographic changes. However, these more dramatic changes may also have syphean tradition will be my primary focus, I will also touch upon the 4 century Apulian been heralded by a shift in the manner of presentation of black-figure Amazons over the practice that evolved from it: in the art of Apulia, Sisyphos toils alongside other disobedient course of the 6th century BC. The Amazons‘ role as ―other‖ has also received much souls, such as the fifty water-carrying Danaids. I will demonstrate that this Apulian conven- attention, but more nuanced interpretations of gender roles in both Peisistratid times and the tion, which prefers the Danaids, borrowed compositional, iconographic, and implicative fledgling democracy should be considered in order to increase our understanding of how and tendencies from the Greek mainland‘s Sisyphean tradition. why the representation of Amazons could be such a persistent yet flexible Greek creation.

Ancient Arti Native American Art I – Art and Iconography in Native North America

Envisioning the Unseen: Sisyphos in Chthonic Landscape Sex and Gender in Mississippian Bird-Human Figures Elizabeth Wolfson, Ph.D. Candidate, University of Missouri Katie McElfresh Buford and Dr. Billie Follensbee

Ancient authors translate Aidēs, or Hades, a term that designated both the Underworld In recent years, Mississippian anthropomorphic images have come under increasing realm and its ruler as ―invisible.‖ This implies that Hades was both physically and psycho- scrutiny in regards to the interpretation of the individuals and the characters that they may logically inaccessible to the living. How, then, did ancient artists undertake the task of rep- portray, and underlying some aspects of the current discussions is the sex and gender of the- resenting a place that could not be seen? Unlike authors such as Homer who described the se images. Two prominent such images are the Rogan Plates, a pair of copper repoussé realm using geographic landmarks like fiery rivers and fields of asphodel, artists used living sculptures portraying bird-human figures, which were recovered in 1885 from the Etowah topography, or the mythological characters who resided inside the realm. While there are site in Georgia. Since Catherine Brown first raised questions in 1982 about the physical fea- many denizens of the underworld, an iconographic study of chthonic vase paintings shows tures of the bird-human figures, the sex and gender of the individuals portrayed in the Rogan that the character considered best suited to the role of indicator was Sisyphos. He was de- Plates have been debated. Interpretations have ranged from assertions that the figures are picted prior to and more frequently than other toilsome souls, his image spans the longest unequivocally male, to arguments that one or both are female, to suggestions that they are amount of time (from the 6th to the 1st centuries BCE), and his secondary presence is usual- ambiguous images representing third or fourth genders. In this presentation, we investigate ly unrelated to the larger plot or story being depicted. While the Greek mainland‘s Si- possible reasons behind these insistent but differing interpretations, focusing on the variation syphean tradition will be my primary focus, I will also touch upon the 4th century Apulian of published photographs and drawings of the Rogan Plates and how the different images practice that evolved from it: in the art of Apulia, Sisyphos toils alongside other disobedient have affected interpretation. The results of these studies carry implications for the larger souls, such as the fifty water-carrying Danaids. I will demonstrate that this Apulian conven- debate on Mississippian images, many of which have similar traits. tion, which prefers the Danaids, borrowed compositional, iconographic, and implicative tendencies from the Greek mainland‘s Sisyphean tradition.

21 22 Native American Art I – Art and Native American Art I – Art andi Iconography in Native North America Iconography in Native North Americai

Sex and Gender in Mississippian Bird-Human Figures A Strong Presence: Old Woman‘s Importance in Missouri Rock Art. A review of her Katie McElfresh Buford and Dr. Billie Follensbee singularity, persistence, and survival into the modern Osage Native American Church. James R. Duncan and Carol Diaz-Granados, Ph.D.

In recent years, Mississippian anthropomorphic images have come under increasing A survey of the symbolism in Missouri rock art, primarily petroglyphs, reveals the scrutiny in regards to the interpretation of the individuals and the characters that they may overwhelming use of female vulvar motifs and their related imagery. This phenomenon is portray, and underlying some aspects of the current discussions is the sex and gender of the- observed especially in the southeastern quadrant of the state. This eastern Ozark area is be- se images. Two prominent such images are the Rogan Plates, a pair of copper repoussé lieved to be important to populations of Late Woodland and Early Mississippian people in sculptures portraying bird-human figures, which were recovered in 1885 from the Etowah their quest for spiritual empowerment and for the acquisition of raw materials for the manu- site in Georgia. Since Catherine Brown first raised questions in 1982 about the physical fea- facture of sacred objects. Using early ethnographies to interpret these symbols, we find tures of the bird-human figures, the sex and gender of the individuals portrayed in the Rogan them to be associated to a specific spiritual being, First Woman or Old- Woman-Who- Plates have been debated. Interpretations have ranged from assertions that the figures are Never-Dies. In reviewing Dhegihan Sioux ethnography, First Woman is a powerful meta- unequivocally male, to arguments that one or both are female, to suggestions that they are phor for several celestial bodies that relate to her role as a creative force responsible for the ambiguous images representing third or fourth genders. In this presentation, we investigate Middle World, the earth, moon, agriculture, and burial. We propose assigning her to a set possible reasons behind these insistent but differing interpretations, focusing on the variation of prehistoric images and will reconstruct her family lineage – residents of the supernatural of published photographs and drawings of the Rogan Plates and how the different images cosmos of the American Indian. have affected interpretation. The results of these studies carry implications for the larger debate on Mississippian images, many of which have similar traits.

Native American Art I – Art andi Native American Art I – Art and Iconography in Native North Americai Iconography in Native North America

A Strong Presence: Old Woman‘s Importance in Missouri Rock Art. A review of her Cultural Convergence and the Synthesis of New Ceremonial Forms at Pottery Mound singularity, persistence, and survival into the modern Osage Native American Church. Pueblo James R. Duncan and Carol Diaz-Granados, Ph.D. Cassy Smith, University of Illinois at Chicago

A survey of the symbolism in Missouri rock art, primarily petroglyphs, reveals the The subject of my paper is an iconographic analysis of the kiva mural program at Pottery overwhelming use of female vulvar motifs and their related imagery. This phenomenon is Mound, a multi-ethnic Pueblo IV settlement in which distinct and pronounced cultural iden- observed especially in the southeastern quadrant of the state. This eastern Ozark area is be- tities converged and were given form. I examine the high degree of cultural exchange at Pot- lieved to be important to populations of Late Woodland and Early Mississippian people in tery Mound, in conjunction with the social and cultural dynamics that characterized the their quest for spiritual empowerment and for the acquisition of raw materials for the manu- Northern and Central Rio Grande region, in order to suggest that Pottery Mound functioned facture of sacred objects. Using early ethnographies to interpret these symbols, we find as a vital site for the development and synthesis of a new language of visual, ritual, and cer- them to be associated to a specific spiritual being, First Woman or Old- Woman-Who- emonial forms specific to women. Manifestations of such forms may have extended into the Never-Dies. In reviewing Dhegihan Sioux ethnography, First Woman is a powerful meta- Late Historic Pueblo period, as indicated by late-nineteenth and early-twentieth century eth- phor for several celestial bodies that relate to her role as a creative force responsible for the nographic accounts. Especially significant to my research is a consideration of the ways in Middle World, the earth, moon, agriculture, and burial. We propose assigning her to a set which the expression of distinct identities and the emergence of new socially integrative of prehistoric images and will reconstruct her family lineage – residents of the supernatural ritual forms at Pottery Mound may have corresponded. Of particular interest to me is the cosmos of the American Indian. role that women played in the development of ceremonial forms and in what ways women‘s ceremonies may have functioned to unify otherwise ethnically and culturally diverse populations. Positing an especially strong connection between Pottery Mound and the Hopi pueblos, I consider the possibility that Hopi women‘s sodalities and ritual forms may have derived from an earlier body of ceremonial practices conducted within the space of a kiva dedicated to the activities of a women‘s society at Pottery Mound. Such an occurrence may perhaps indicate a more widespread trend of women‘s kivas in Ancestral Pueblo villages.

23 24 Native American Art I – Art and Asian Art Iconography in Native North America

Cultural Convergence and the Synthesis of New Ceremonial Forms at Pottery Mound ―A Western Zhou Food Vessel (gui) with Phoenix Motifs‖ Pueblo Liu Yang, PhD., Head of the Asian Art Department and Curator of Chinese Art, Minneapolis Cassy Smith, University of Illinois at Chicago Institute of Arts

From the outstanding Chinese archaic bronze collections in the Minneapolis Insti- The subject of my paper is an iconographic analysis of the kiva mural program at Pottery tute of Arts, a food vessel (gui) of the 11th century BCE stands out because of its unique Mound, a multi-ethnic Pueblo IV settlement in which distinct and pronounced cultural iden- ornamentation and important inscription. The flamboyant design of phoenixes with peacock- tities converged and were given form. I examine the high degree of cultural exchange at Pot- like tails and the crest atop their heads reflects the current fashion of the early Western Zhou tery Mound, in conjunction with the social and cultural dynamics that characterized the dynasty. The depiction of the ―eyes‖ on the plumage, similar to the peacock‘s tail, however, Northern and Central Rio Grande region, in order to suggest that Pottery Mound functioned is truly unique. The 45-character inscription on the vessel reveals some very important infor- as a vital site for the development and synthesis of a new language of visual, ritual, and cer- mation about early Western Zhou ritual practices and history—it illuminates a specific sacri- emonial forms specific to women. Manifestations of such forms may have extended into the fice dedicated to the powers who reside over war, and the increasingly strengthened ties be- Late Historic Pueblo period, as indicated by late-nineteenth and early-twentieth century eth- tween ancestral sacrifices and statecraft. A further investigation of its style, decorative pat- nographic accounts. Especially significant to my research is a consideration of the ways in terns, and the inscription may provide an answer to one of the great puzzles of Chinese his- which the expression of distinct identities and the emergence of new socially integrative tory—the mysterious existence of a fiefdom known as Yong. ritual forms at Pottery Mound may have corresponded. Of particular interest to me is the role that women played in the development of ceremonial forms and in what ways women‘s ceremonies may have functioned to unify otherwise ethnically and culturally diverse populations. Positing an especially strong connection between Pottery Mound and the Hopi pueblos, I consider the possibility that Hopi women‘s sodalities and ritual forms may have derived from an earlier body of ceremonial practices conducted within the space of a kiva dedicated to the activities of a women‘s society at Pottery Mound. Such an occurrence may perhaps indicate a more widespread trend of women‘s kivas in Ancestral Pueblo villages.

Asian Art Asian Art

―A Western Zhou Food Vessel (gui) with Phoenix Motifs‖ Offering the Universe: Divergent Representations of the Cosmos in Nepalese and Tibetan Rituals Liu Yang, PhD., Head of the Asian Art Department and Curator of Chinese Art, Minneapolis Institute of Arts Eric Huntington, PhD., Korff Postdoctoral Fellow, Department of Art History and Archae- ology, Washington University in St. Louis

From the outstanding Chinese archaic bronze collections in the Minneapolis Insti- tute of Arts, a food vessel (gui) of the 11th century BCE stands out because of its unique ornamentation and important inscription. The flamboyant design of phoenixes with peacock- One of the most important rituals in Himalayan Buddhism is a type of offering giv- like tails and the crest atop their heads reflects the current fashion of the early Western Zhou en to the teacher by the disciple. This ritual, called the gurumaṇḍalaarcana in Sanskrit, dynasty. The depiction of the ―eyes‖ on the plumage, similar to the peacock‘s tail, however, symbolizes the complete transfer of the student‘s self to the care of the teacher—ideally a is truly unique. The 45-character inscription on the vessel reveals some very important infor- gift of total devotion in exchange for perfect spiritual guidance. The key element in this act mation about early Western Zhou ritual practices and history—it illuminates a specific sacri- is the presentation of a simulacrum of the entire Buddhist cosmos, indicating that absolute- fice dedicated to the powers who reside over war, and the increasingly strengthened ties be- ly nothing in the world is held back in the teacher-disciple relationship, which is the foun- tween ancestral sacrifices and statecraft. A further investigation of its style, decorative pat- dation of religious development. This physical model of the cosmos, being finite and craft- terns, and the inscription may provide an answer to one of the great puzzles of Chinese his- ed by human hands, is subject both to artistic conventions and to methods of visually en- tory—the mysterious existence of a fiefdom known as Yong. coding the vast universe into condensed forms. Furthermore, differences in ritual traditions (both within and between cultures) significantly alter the ways in which material representations of the cosmic offering are envisioned and produced. This paper will examine several different visual models of the cosmic offering in Nepal and Tibet, including its presentation as piles of grain, metal platters with carved designs, ritual towers filled with gems, and banner paintings. In each of these forms, different elements of the cosmos are emphasized as part of the visual encoding of ritual concepts, and variations in the performance of the ritual can lead to surprisingly opposed artistic forms, all of which in their own ways sym- bolize the infinite treasures of the universe.

25 26 Asian Art Asian Art

Offering the Universe: Divergent Representations of the Cosmos in Nepalese and Exaltations of the Prosaic: Visualizing the Chinese Peasantry through Ink Painting in Tibetan Rituals the Early People‘s Republic of China

Eric Huntington, PhD., Korff Postdoctoral Fellow, Department of Art History and Archae- Wang Yang, PhD. candidate, Department of History of Art, The Ohio State University ology, Washington University in St. Louis

In October 1961, the People’s Daily dedicated a full-page spread to the artworks of a One of the most important rituals in Himalayan Buddhism is a type of offering giv- group of Xi‘an-based ink painters. This official stamp of approval connoted the state‘s pro- en to the teacher by the disciple. This ritual, called the gurumaṇḍalaarcana in Sanskrit, motion of not only the Xi‘an artists‘ revival of a traditional artistic medium but also their symbolizes the complete transfer of the student‘s self to the care of the teacher—ideally a chosen subject matter—peasant life in China‘s northwest. Although existing scholarship on gift of total devotion in exchange for perfect spiritual guidance. The key element in this act Maoist art provides critical examination of how institutions and policies shaped art produc- is the presentation of a simulacrum of the entire Buddhist cosmos, indicating that absolute- tion, few studies focus on methods employed by artists in their everyday practice or the re- ly nothing in the world is held back in the teacher-disciple relationship, which is the foun- ception of targeted audiences. This paper investigates the artistic process from inception to dation of religious development. This physical model of the cosmos, being finite and craft- publication and distribution, with special attention to the awareness between the artist and ed by human hands, is subject both to artistic conventions and to methods of visually en- the viewer. The paper will also highlight the tension between the prosaic quality of peasant coding the vast universe into condensed forms. Furthermore, differences in ritual traditions life as desired subject matter and the effort required of artists to gain intimate access to rural (both within and between cultures) significantly alter the ways in which material represen- peasants. By analyzing original artworks, newspaper reproductions, personal interviews, and tations of the cosmic offering are envisioned and produced. This paper will examine sever- written accounts, my study illuminates how the Xi‘an ink painters implemented the Maoist al different visual models of the cosmic offering in Nepal and Tibet, including its presenta- ideal of tiyan shenghuo (―experience and learn from life‖) in actual practice, and how art tion as piles of grain, metal platters with carved designs, ritual towers filled with gems, and viewers accepted artistic treatments of ―life‖ as a part of their everyday experience. It will be banner paintings. In each of these forms, different elements of the cosmos are emphasized argued that a specific set of artistic processes: suxie (―quick drawing‖), xiesheng (―drawing as part of the visual encoding of ritual concepts, and variations in the performance of the from life‖) and xizuo (―preparatory work‖), achieved for the state and its new art viewers the ritual can lead to surprisingly opposed artistic forms, all of which in their own ways sym- appropriate balance between romanticism and realism in depicting the humble yet politically bolize the infinite treasures of the universe. laudable peasant class.

Asian Art Undergraduate Research in Art History

Exaltations of the Prosaic: Visualizing the Chinese Peasantry through Ink Painting in The Colonel Davenport House: An Historic Midwestern Monument the Early People‘s Republic of China Jordan Kirkbride, Catherine Carter Goebel Advisor, Augustana College Wang Yang, PhD. candidate, Department of History of Art, The Ohio State University

Located on the historic Rock Island Arsenal, the 1833 Colonel Davenport House is In October 1961, the People’s Daily dedicated a full-page spread to the artworks of a currently a museum dedicated to sharing the wealth of history that developed during the group of Xi‘an-based ink painters. This official stamp of approval connoted the state‘s pro- nineteenth century on the banks of the Mississippi River. The house is one of the oldest in motion of not only the Xi‘an artists‘ revival of a traditional artistic medium but also their Illinois, making it an important part of Midwestern history as well. Since the early twentieth chosen subject matter—peasant life in China‘s northwest. Although existing scholarship on century, local volunteers and history enthusiasts have worked to restore the house to its for- Maoist art provides critical examination of how institutions and policies shaped art produc- mer glory. tion, few studies focus on methods employed by artists in their everyday practice or the re- Following two years of volunteer work with the special collections committee at the ception of targeted audiences. This paper investigates the artistic process from inception to Colonel Davenport House, I have become well-versed in nineteenth-century American dec- publication and distribution, with special attention to the awareness between the artist and orative arts. My work can help the Colonel Davenport House Foundation members sift the viewer. The paper will also highlight the tension between the prosaic quality of peasant through their current furnishings in order to understand what is historically appropriate for life as desired subject matter and the effort required of artists to gain intimate access to rural such a home and where changes might need to be made. The results of my research will en- peasants. By analyzing original artworks, newspaper reproductions, personal interviews, and sure a more accurate historic preservation site, enabling members of the community to dis- written accounts, my study illuminates how the Xi‘an ink painters implemented the Maoist cern a deeper understanding of an integral part of the community‘s history. Research like ideal of tiyan shenghuo (―experience and learn from life‖) in actual practice, and how art this contributes to the preservation of an important period, and a significant and colorful viewers accepted artistic treatments of ―life‖ as a part of their everyday experience. It will be historic figure, in Midwestern American history. argued that a specific set of artistic processes: suxie (―quick drawing‖), xiesheng (―drawing My project has also resulted in the creation of an educational booklet which in the from life‖) and xizuo (―preparatory work‖), achieved for the state and its new art viewers the near future will be published and distributed at the home. Overall, this research thus rein- appropriate balance between romanticism and realism in depicting the humble yet politically forces the foundation‘s accomplishments in preserving the structure of the home itself and laudable peasant class. recording important contexts for the furnishings. It also offers additional insights and rec- ommendations, toward re-asserting it as an important record of early Midwestern history, which will enable it to be more effectively preserved and shared with the larger community.

27 28 Undergraduate Research in Undergraduate Research in Art History Art History

The Colonel Davenport House: An Historic Midwestern Monument Hand to Hand: Combating the Effects of Damnatio Memoriae and Preserving the Image of the Empress Fausta on Early Romano-Byzantine Coins Jordan Kirkbride, Catherine Carter Goebel Advisor, Augustana College James Langston, DePaul University- History of Art and Architecture Department

Located on the historic Rock Island Arsenal, the 1833 Colonel Davenport House is currently a museum dedicated to sharing the wealth of history that developed during the In 326 CE, the Empress Fausta, second wife of Constantine the Great, is executed nineteenth century on the banks of the Mississippi River. The house is one of the oldest in and her image and existence is wiped from the historical landscape through the process of Illinois, making it an important part of Midwestern history as well. Since the early twentieth damnatio memoriae, the damning of the memory of a person‘s existence. Fausta‘s erasure century, local volunteers and history enthusiasts have worked to restore the house to its for- from stemmed from allegations of an illicit nature, claims that included incest, adultery, and mer glory. treason. Yet despite being labeled an ―immoral‖ woman, there is artistic evidence to the

Following two years of volunteer work with the special collections committee at the contrary, imagery that clearly depicts Fausta as both highly significant and tremendously Colonel Davenport House, I have become well-versed in nineteenth-century American dec- important, not merely to the Emperor Constantine, but to the Roman Empire as a whole. orative arts. My work can help the Colonel Davenport House Foundation members sift Nowhere is this imagery more powerful in its message than on the Roman-Byzantine coins through their current furnishings in order to understand what is historically appropriate for of the period. Due to their nearly never-ending circulation, these coins directly counteracted such a home and where changes might need to be made. The results of my research will en- Fausta‘s expulsion from history and provide evidence that women were much more than sure a more accurate historic preservation site, enabling members of the community to dis- mere wives, mothers, and lovers. cern a deeper understanding of an integral part of the community‘s history. Research like this contributes to the preservation of an important period, and a significant and colorful historic figure, in Midwestern American history.

My project has also resulted in the creation of an educational booklet which in the near future will be published and distributed at the home. Overall, this research thus rein- forces the foundation‘s accomplishments in preserving the structure of the home itself and recording important contexts for the furnishings. It also offers additional insights and rec- ommendations, toward re-asserting it as an important record of early Midwestern history, which will enable it to be more effectively preserved and shared with the larger community.

Undergraduate Research in Undergraduate Research in Art History Art History

Hand to Hand: Combating the Effects of Damnatio Memoriae and Preserving the Art Historiography of Francesco Salviati Image of the Empress Fausta on Early Romano-Byzantine Coins Laura McMillan James Langston, DePaul University- History of Art and Architecture Department

Francesco Salviati, a 15th century mannerist painter, has been overlooked in art his- In 326 CE, the Empress Fausta, second wife of Constantine the Great, is executed torical scholarship for many years because of his confusing transition of style and lack of and her image and existence is wiped from the historical landscape through the process of patronage later in his career. Because of his difficulties in personality he was often shunted damnatio memoriae, the damning of the memory of a person‘s existence. Fausta‘s erasure aside by both patrons and other artists. Salviati has been relatively ignored in art historical from stemmed from allegations of an illicit nature, claims that included incest, adultery, and scholarship, especially when placed in comparison with the other masters that painted treason. Yet despite being labeled an ―immoral‖ woman, there is artistic evidence to the alongside him, such as Michelangelo and Raphael. His talent as a fantastic draughtsman and contrary, imagery that clearly depicts Fausta as both highly significant and tremendously decorative fresco painter should have made him very popular with the patrons of Florentine important, not merely to the Emperor Constantine, but to the Roman Empire as a whole. Mannerism, which many scholars have come to recognize throughout the years. It was not Nowhere is this imagery more powerful in its message than on the Roman-Byzantine coins until the late twentieth century that academic interest in Salviati began to resurface. Over of the period. Due to their nearly never-ending circulation, these coins directly counteracted time, focus shifted away from Salviati solely in relation to these other major artists, and in- Fausta‘s expulsion from history and provide evidence that women were much more than stead has returned to Vasari‘s original observations that he was an extremely talented, but mere wives, mothers, and lovers. misunderstood artist. These factors make Salviati an ideal candidate to study the art historical trend that focuses on the analysis of the artist‘s character and personality in order to better understand their work. Through studying scholarship produced by Giorgio Vasari, H. Voss, Michael Hirst, Iris Cheney, Paul Joannides, and Catherine Monbeig Goguel, modern art historians can better understand Salviati‘s character as an artist, and how the interpretation of his style and identity as an artist changed throughout the years.

29 30 Undergraduate Research in The Politics of Meaning in Art History Renaissance Arti

Art Historiography of Francesco Salviati Death and Rebirth: A New Reading of the Choir Frescoes in the Church of the Augustinian Hermits in Padua Laura McMillan Katie Guida, Ph.D. Candidate, Pennsylvania State University

Francesco Salviati, a 15th century mannerist painter, has been overlooked in art his- During the fourteenth century, the Augustinian Hermits promoted a bold and largely torical scholarship for many years because of his confusing transition of style and lack of fictitious claim that the fifth-century Bishop of Hippo, St. Augustine, had founded their Or- patronage later in his career. Because of his difficulties in personality he was often shunted der. Although officially instituted as a mendicant order in the thirteenth century under Pope aside by both patrons and other artists. Salviati has been relatively ignored in art historical Alexander IV, the Hermits reframed the papal decree as marking the reunification of their scholarship, especially when placed in comparison with the other masters that painted ancient order, originally founded by Augustine himself. Inciting heated objections from oth- alongside him, such as Michelangelo and Raphael. His talent as a fantastic draughtsman and er religious orders, the Hermits refashioned the historical account of the Order‘s founding in decorative fresco painter should have made him very popular with the patrons of Florentine both written biographies of Augustine and artistic commissions of the saint‘s life. The mid- Mannerism, which many scholars have come to recognize throughout the years. It was not fourteenth-century fresco cycle in the Hermit church in Padua is one of the earliest represen- until the late twentieth century that academic interest in Salviati began to resurface. Over tations of this revised version of Augustine‘s life. time, focus shifted away from Salviati solely in relation to these other major artists, and instead has returned to Vasari‘s original observations that he was an extremely talented, but My paper presents the frescoes as a unified cycle consisting of several paired epi- misunderstood artist. These factors make Salviati an ideal candidate to study the art histori- sodes that highlight the theme of spiritual and historical rebirth. St. Augustine illustrates the cal trend that focuses on the analysis of the artist‘s character and personality in order to bet- hermit‘s spiritual development as a series of rebirths through the sacrament of baptism and ter understand their work. Through studying scholarship produced by Giorgio Vasari, H. the rite of monastic profession. This model parallels the historical development of the Order, Voss, Michael Hirst, Iris Cheney, Paul Joannides, and Catherine Monbeig Goguel, modern which saw the rise of the fourteenth-century Order as the renewal of Augustine‘s original art historians can better understand Salviati‘s character as an artist, and how the interpreta- foundation. Central to my discussion is an examination of the often misidentified and over- tion of his style and identity as an artist changed throughout the years. looked scene depicting the baptism of Augustine‘s son. This image of mystical death and rebirth suited the liturgical and funerary functions of the space, and connected the cycle of Augustine to the surrounding decoration. Lastly, this paper compares the frescoes in Padua to literary sources, including Augustine‘s own writings and fourteenth-century accounts.

The Politics of Meaning in The Politics of Meaning in Renaissance Arti Renaissance Art

Death and Rebirth: A New Reading of the Choir Frescoes in the Church of the Sculpted Doorways and Devotion: Visual Reminders of San Bernardino of Siena‘s Vis- Augustinian Hermits in Padua it to Fifteenth-Century Triora Katie Guida, Ph.D. Candidate, Pennsylvania State University Madeline Rislow, Instructor, Kansas City Art Institute

Triora, a small mountain town in the Ligurian region a few kilometers from the Italy-France During the fourteenth century, the Augustinian Hermits promoted a bold and largely border, boasts at least 18 extant Renaissance soprapporte, a particular Ligurian sculpted lin- fictitious claim that the fifth-century Bishop of Hippo, St. Augustine, had founded their Or- tel relief type of which at least 300 survive. While the 130 soprapporte in Genoa, Liguria‘s der. Although officially instituted as a mendicant order in the thirteenth century under Pope capital city, are dominated by images of its patron saints, George and John the Baptist, no Alexander IV, the Hermits reframed the papal decree as marking the reunification of their Trioran overdoors depict either subject. Instead, the most popular image on Trioran portals ancient order, originally founded by Augustine himself. Inciting heated objections from oth- is the monogram of Christ, adorning about a third of the town‘s lintel sculptures. This paper er religious orders, the Hermits refashioned the historical account of the Order‘s founding in considers why Triorans employed Christ‘s monogram most frequently by exploring the both written biographies of Augustine and artistic commissions of the saint‘s life. The midtown‘s connection to San Bernardino of Siena, the great Observant Franciscan preacher to fourteenth-century fresco cycle in the Hermit church in Padua is one of the earliest represen- whom the popularity of the monogram is credited. San Bernardino first visited Triora in tations of this revised version of Augustine‘s life. 1418 and enjoyed his time there so much that he later called the town ―mia piccola pa- My paper presents the frescoes as a unified cycle consisting of several paired epi- tria‖ (my little homeland). The Triorans evidently chose Christ‘s monogram for their lintel sodes that highlight the theme of spiritual and historical rebirth. St. Augustine illustrates the relief sculpture to reflect the resonance of San Bernardino‘s sermons and for the protective hermit‘s spiritual development as a series of rebirths through the sacrament of baptism and powers believed to be associated with this emblem. As this paper demonstrates, soprapporta the rite of monastic profession. This model parallels the historical development of the Order, production was not an exclusively Genoese phenomenon. The popularity of imagery such as which saw the rise of the fourteenth-century Order as the renewal of Augustine‘s original the monogram of Christ in Triora and other areas outside of Liguria‘s capital city suggests foundation. Central to my discussion is an examination of the often misidentified and over- that the powerful Genoese did not dictate the subject matter selection of lintel works looked scene depicting the baptism of Augustine‘s son. This image of mystical death and throughout the region. Indeed, soprapporte truly were a regional sculptural type with image- rebirth suited the liturgical and funerary functions of the space, and connected the cycle of ry specific to their locations. Augustine to the surrounding decoration. Lastly, this paper compares the frescoes in Padua to literary sources, including Augustine‘s own writings and fourteenth-century accounts.

31 32 The Politics of Meaning in The Politics of Meaning in Renaissance Art Renaissance Arti

Sculpted Doorways and Devotion: Visual Reminders of San Bernardino of Siena‘s Vis- Displaying Conversion: Religious Transformation, International Trade and Economic it to Fifteenth-Century Triora Welfare in Sixteenth-Century Antwerp Madeline Rislow, Instructor, Kansas City Art Institute Barbara A. Kaminska, Ph.D. Candidate, University of California, Santa Barbara

Triora, a small mountain town in the Ligurian region a few kilometers from the Italy-France This paper focuses on the unprecedented popularity of the theme of the Conversion of Saul border, boasts at least 18 extant Renaissance soprapporte, a particular Ligurian sculpted lin- in Antwerp art collections in the second half of the sixteenth century. In my analysis I inte- tel relief type of which at least 300 survive. While the 130 soprapporte in Genoa, Liguria‘s grate an approach to collecting as a means of self-fashioning with an understanding of imag- capital city, are dominated by images of its patron saints, George and John the Baptist, no es such as these as discursive objects that actively shaped social, economic and political be- Trioran overdoors depict either subject. Instead, the most popular image on Trioran portals havior of their viewers. Rare before the 1550s, paintings showing Saul‘s conversion appear is the monogram of Christ, adorning about a third of the town‘s lintel sculptures. This paper in more than ten inventories of households compiled in the next four decades, with Pieter considers why Triorans employed Christ‘s monogram most frequently by exploring the Bruegel the Elder‘s panel (1567) as the most famous example. These images were displayed town‘s connection to San Bernardino of Siena, the great Observant Franciscan preacher to in offices and dining halls, therefore, in spaces that strengthened social and business bonds whom the popularity of the monogram is credited. San Bernardino first visited Triora in between the collector and his colleagues. I correlate this phenomenon with Antwerp‘s 1418 and enjoyed his time there so much that he later called the town ―mia piccola pa- unique commercial and demographic circumstances. The city government repeatedly re- tria‖ (my little homeland). The Triorans evidently chose Christ‘s monogram for their lintel fused to publish Charles V‘s edicts against New Christians and to enforce ordinances re- relief sculpture to reflect the resonance of San Bernardino‘s sermons and for the protective questing certificates of Catholic orthodoxy from all merchants living in the city, arguing powers believed to be associated with this emblem. As this paper demonstrates, soprapporta that implementing those laws would lead to its economic downfall. I propose that the dis- production was not an exclusively Genoese phenomenon. The popularity of imagery such as play of paintings of the Conversion was thus a strategy developed by entrepreneurs to the monogram of Christ in Triora and other areas outside of Liguria‘s capital city suggests demonstrate their Catholicism as a means of maintaining the financial welfare of the com- that the powerful Genoese did not dictate the subject matter selection of lintel works munity. Consequently, those religious images no longer served devotional and liturgical throughout the region. Indeed, soprapporte truly were a regional sculptural type with image- purposes, but became an active mechanism for social and economic cohesion. ry specific to their locations.

The Politics of Meaning in Native American Art II Renaissance Arti

Displaying Conversion: Religious Transformation, International Trade and Economic Great Osage Artists: A Conversation with Anita Fields, Norman Akers, and C.R. Red Welfare in Sixteenth-Century Antwerp Corn Barbara A. Kaminska, Ph.D. Candidate, University of California, Santa Barbara

Jill Ahlberg Yohe will facilitate a lively discussion about the state of Osage art, including This paper focuses on the unprecedented popularity of the theme of the Conversion of Saul images of their work and times for questions and answers with these accomplished artists. in Antwerp art collections in the second half of the sixteenth century. In my analysis I inte- grate an approach to collecting as a means of self-fashioning with an understanding of images such as these as discursive objects that actively shaped social, economic and political be- havior of their viewers. Rare before the 1550s, paintings showing Saul‘s conversion appear in more than ten inventories of households compiled in the next four decades, with Pieter Bruegel the Elder‘s panel (1567) as the most famous example. These images were displayed in offices and dining halls, therefore, in spaces that strengthened social and business bonds between the collector and his colleagues. I correlate this phenomenon with Antwerp‘s unique commercial and demographic circumstances. The city government repeatedly refused to publish Charles V‘s edicts against New Christians and to enforce ordinances re- questing certificates of Catholic orthodoxy from all merchants living in the city, arguing that implementing those laws would lead to its economic downfall. I propose that the display of paintings of the Conversion was thus a strategy developed by entrepreneurs to demonstrate their Catholicism as a means of maintaining the financial welfare of the community. Consequently, those religious images no longer served devotional and liturgical purposes, but became an active mechanism for social and economic cohesion.

33 34 Native American Art II Art of Africai

Great Osage Artists: A Conversation with Anita Fields, Norman Akers, and C.R. Red Artistic Translations in a Postcolonial Art Industry: Jean Lucrat in Tunisia Corn Jessica Gerschultz, Ph.D., Assistant Professor, University of Kansas

Jill Ahlberg Yohe will facilitate a lively discussion about the state of Osage art, including This paper examines the contradictory relationship between the French artist Jean images of their work and times for questions and answers with these accomplished artists. Lurçat and two postcolonial art institutions in Tunisia, the Office National de l‘Artisanat and the École des Beaux-Arts, following Lurçat‘s official consultation as a guest of the Tu- nisian government in 1960. I specifically address the conditions through which Tunisian artist Safia Farhat aligned her atelier of décoration at the Beaux-Arts with state-run pilot workshops directed by Mongi Mabrouk, who was tasked to 1) reform artisanal design and production, and 2) align the artisanat with the nascent tourist industry. As sites of creative experimentation with grave socioeconomic implications, these pilot ateliers functioned as training centers offering specialized programs to participating artisans, and, at the time of Lurçat‘s visit, were being installed throughout the country. In pinpointing Lurçat‘s advisory role on Tunisian artistic training, it becomes possible to decipher the ways in which the ad- ministrative elite translated predominant French modes of workshop production to expand the artisanal industry and, significantly, reframe hierarchical relations of power among art producers. Problematically, the conception of the inherent creativity and superiority of the ―modern,‖ cosmopolitan artist of the École over the ―traditional,‖ gendered Muslim artisane was authenticated and institutionalized at a critical point in postcolonial state-building.

Art of Africai Art of Africa

Artistic Translations in a Postcolonial Art Industry: Jean Lucrat in Tunisia Frafra Craft Production: Its Development and Regional Impact Jessica Gerschultz, Ph.D., Assistant Professor, University of Kansas Fred T. Smith, Ph.D., Professor, Kent State University

This paper examines the contradictory relationship between the French artist Jean To understand the history of craft production for the Frafra and related groups of Lurçat and two postcolonial art institutions in Tunisia, the Office National de l‘Artisanat northeastern Ghana and Burkina Faso, it is necessary to examine broad areas of interaction and the École des Beaux-Arts, following Lurçat‘s official consultation as a guest of the Tu- and trade including those that extend beyond the African continent. Migrations, periods of nisian government in 1960. I specifically address the conditions through which Tunisian conflict, ethnic blending and colonialism have significantly influenced the history of this artist Safia Farhat aligned her atelier of décoration at the Beaux-Arts with state-run pilot region. In addition, more centralized cultures to the north and south have also had an impact. workshops directed by Mongi Mabrouk, who was tasked to 1) reform artisanal design and In terms of crafts, the Frafra area has been an important center of production and trade since production, and 2) align the artisanat with the nascent tourist industry. As sites of creative the 19th century, if not before. Contemporary Frafra crafts now include hybrids, modernized experimentation with grave socioeconomic implications, these pilot ateliers functioned as traditional forms and mass‐produced objects for the tourist trade as well as less modified training centers offering specialized programs to participating artisans, and, at the time of forms for local consumption. When any art form functions primarily as an economic com- Lurçat‘s visit, were being installed throughout the country. In pinpointing Lurçat‘s advisory modity, traded regularly throughout a region and beyond, the role of both the market agent role on Tunisian artistic training, it becomes possible to decipher the ways in which the ad- and patron are critical. In this paper, basketry, leather work, brass jewelry and textile pro- ministrative elite translated predominant French modes of workshop production to expand duction and distribution will be analyzed in terms of both in-group and out-group patronage. the artisanal industry and, significantly, reframe hierarchical relations of power among art producers. Problematically, the conception of the inherent creativity and superiority of the ―modern,‖ cosmopolitan artist of the École over the ―traditional,‖ gendered Muslim artisane was authenticated and institutionalized at a critical point in postcolonial state-building.

35 36 Art of Africa Art of Africa

Frafra Craft Production: Its Development and Regional Impact The Sanctified and the Secular in the Designed Garden: The Sacred Grove in Africa Fred T. Smith, Ph.D., Professor, Kent State University Amanda H. Hellman, Curator of African Art, Michael C. Carlos Museum of Art, Emory University

To understand the history of craft production for the Frafra and related groups of In many cultures, nature is considered wild, powerful, and the stomping grounds for northeastern Ghana and Burkina Faso, it is necessary to examine broad areas of interaction manifestations of the divine – the good, bad, unknowable, and unpredictable. Alternatively, and trade including those that extend beyond the African continent. Migrations, periods of the town is the humans‘ domain, planned and built around the flow of their lives. The sacred conflict, ethnic blending and colonialism have significantly influenced the history of this grove creates a neutral meeting space for both the divine and devotee. This paper explores region. In addition, more centralized cultures to the north and south have also had an impact. the grove as a designed garden that merges the growth and decay of the bush with the or- In terms of crafts, the Frafra area has been an important center of production and trade since dered layout of the village. Unlike the uncultivated and infinitely vast forest, gardens are the 19th century, if not before. Contemporary Frafra crafts now include hybrids, modernized created on a human scale, the size and organization of the garden is relative to man, taking traditional forms and mass‐produced objects for the tourist trade as well as less modified the danger out of nature, and taming volatile spirits. forms for local consumption. When any art form functions primarily as an economic commodity, traded regularly throughout a region and beyond, the role of both the market agent Sacred groves prove to be spaces of socio-political interest, ecological concern, reli- and patron are critical. In this paper, basketry, leather work, brass jewelry and textile pro- gious and artistic interest; they are designated areas where groups gather, medicinal plants duction and distribution will be analyzed in terms of both in-group and out-group patronage. are cultivated, and artists create both objects to honor the spirits, as well as environments that help devotees commune with nature and the divine. This paper looks at sacred groves in Africa as designed gardens of artistic and religious expression. Touching briefly on the Osun Grove in Osogbo, Nigeria, I will use it as a case study to explore moussem sites in Morocco and the Kaya forests of the Zanzibar-Inhambane ecosystem in Kenya as a middle ground where devotees and the divine can co-habitate.

Art of Africa Modern Art I—Sculpture: The Meanings of Materials

The Sanctified and the Secular in the Designed Garden: The Sacred Grove in Africa ―As French as one could be‖: The Making of Émile-Antoine Bourdelle as Sculptor for France Amanda H. Hellman, Curator of African Art, Michael C. Carlos Museum of Art, Emory University Gabrielle Rose-Curti, Assistant Professor, Simpson College

In many cultures, nature is considered wild, powerful, and the stomping grounds for The Parisian-based sculptor, Émile-Antoine Bourdelle was the subject of a fast- manifestations of the divine – the good, bad, unknowable, and unpredictable. Alternatively, expanding body of criticism published in France between c.1905 and 1914. Critics respond- the town is the humans‘ domain, planned and built around the flow of their lives. The sacred ed favorably to Bourdelle‘s mode of conservative modernism, in which classical subjects grove creates a neutral meeting space for both the divine and devotee. This paper explores were translated into a moderately abstractive and structurally reductive language. The pro- the grove as a designed garden that merges the growth and decay of the bush with the or- posed paper will argue that the critical promotion of Bourdelle and his work had ideological dered layout of the village. Unlike the uncultivated and infinitely vast forest, gardens are underpinnings that reflected the wide-spread and accelerating climate of nationalism felt in created on a human scale, the size and organization of the garden is relative to man, taking French politics and culture during the pre-war years: the collective goal in these texts the danger out of nature, and taming volatile spirits. proved to construct exclusive and inviolable French sculptural aesthetic, one that was fresh, Sacred groves prove to be spaces of socio-political interest, ecological concern, reli- yet reassuringly conservative. Indeed, critics claimed that this exclusive aesthetic was the gious and artistic interest; they are designated areas where groups gather, medicinal plants outset of Bourdelle‘s ultra-masculinized identity and sculptural process, and the qualities are cultivated, and artists create both objects to honor the spirits, as well as environments inborn by virtue of the sculptor‘s rustic méridional roots. Ultimately I will argue that the that help devotees commune with nature and the divine. This paper looks at sacred groves in promotion of Bourdelle served to marginalize, indeed further disenfranchise the more radi- Africa as designed gardens of artistic and religious expression. Touching briefly on the cal sculptors –foreign or French—working in Paris at the time. Even Auguste Rodin, the Osun Grove in Osogbo, Nigeria, I will use it as a case study to explore moussem sites in long-standing and revered face of French sculpture, was not entirely immune to such mar- Morocco and the Kaya forests of the Zanzibar-Inhambane ecosystem in Kenya as a middle ginalization. ground where devotees and the divine can co-habitate.

37 38 Modern Art I—Sculpture: Modern Art I—Sculpture: The Meanings of Materials The Meanings of Materialsi

―As French as one could be‖: The Making of Émile-Antoine Bourdelle as Sculptor for Mabel Gardner: Sculpting Spirit France Valerie Mendelson, Independent Scholar, New York City Gabrielle Rose-Curti, Assistant Professor, Simpson College Mabel Gardner‘s work situates itself within a conflict in the modernist movement The Parisian-based sculptor, Émile-Antoine Bourdelle was the subject of a fast- between purity and materiality. Gardner‘s attenuated wood virgins announce their matter expanding body of criticism published in France between c.1905 and 1914. Critics respond- through rough facture, and they reject the materiality of the art market in their placement in ed favorably to Bourdelle‘s mode of conservative modernism, in which classical subjects working class churches. were translated into a moderately abstractive and structurally reductive language. The pro- Refusing the dichotomy between art and service guided both the life and work of posed paper will argue that the critical promotion of Bourdelle and his work had ideological this unusual and compelling artist. Born into a prominent Rhode Island family and trained underpinnings that reflected the wide-spread and accelerating climate of nationalism felt in at RISD, Gardner came to Paris towards the end of World War I to volunteer as a nurse and French politics and culture during the pre-war years: the collective goal in these texts stayed on for the rest of her life. She was involved both with the artists of the Atelier de proved to construct exclusive and inviolable French sculptural aesthetic, one that was fresh, l‘art sacré, and close to a vibrant expat American community. Adrienne Monnier, the lover yet reassuringly conservative. Indeed, critics claimed that this exclusive aesthetic was the of Sylvia Beach, called her ―the angelic Mabel Gardner who sculpts graceful figures in outset of Bourdelle‘s ultra-masculinized identity and sculptural process, and the qualities wood‖. She exhibited regularly in the Salon des Indépendants and the Salon d‘Automne and inborn by virtue of the sculptor‘s rustic méridional roots. Ultimately I will argue that the was widely reviewed. promotion of Bourdelle served to marginalize, indeed further disenfranchise the more radi- Her work, often depicting the Virgin and Child, was rough, evoking spirit through cal sculptors –foreign or French—working in Paris at the time. Even Auguste Rodin, the matter. In 1960, Joseph Pichard described her work as keeping the wood in its long-standing and revered face of French sculpture, was not entirely immune to such mar- ―rudesse‖ (roughness, brutality), animating it only by investigations of slight expression. ginalization. This is clearly evident in her late sculptures, where the marks of the chisel cause a kind of vibrating stutter that almost effaces the form. Two such sculptures are found in the modern church built by Pierre Vago in the bombed out city of Le Mans. The church and the sculptures by Mabel Gardner formed the emotional centers of Vago‘s public housing project through a modernist reinterpretation of spirituality.

Modern Art I—Sculpture: Modern Art I—Sculpture: The Meanings of Materialsi The Meanings of Materials

Mabel Gardner: Sculpting Spirit Sculpture/Object: Max Ernst's Stones from Maloja Valerie Mendelson, Independent Scholar, New York City Hannah S. Fullgraf, Ph.D. Candidate, Rice University

Mabel Gardner‘s work situates itself within a conflict in the modernist movement During a month-long sojourn in 1935, at Alberto Giacometti's home in Maloja, between purity and materiality. Gardner‘s attenuated wood virgins announce their matter Switzerland, Max Ernst and Giacometti explored the surrounding landscape of the Swiss through rough facture, and they reject the materiality of the art market in their placement in Alps, hiking to the moraines of the Forno Glacier. Impressed by the multitude of granite working class churches. stones, worn smooth by the passing of time, the two artists entered into what Ernst referred to as "a sculpture fever." Ernst created roughly twenty sculptures from the round and ovoid Refusing the dichotomy between art and service guided both the life and work of granite stones. The stones inspired Ernst to render, with a chisel or paint brush, the forces of this unusual and compelling artist. Born into a prominent Rhode Island family and trained nature that formed the awe-inspiring landscape of the Swiss Alps and the images concealed at RISD, Gardner came to Paris towards the end of World War I to volunteer as a nurse and within Ernst's unconscious. stayed on for the rest of her life. She was involved both with the artists of the Atelier de l‘art sacré, and close to a vibrant expat American community. Adrienne Monnier, the lover Close readings of André Breton's 1935 lecture titled "The Surrealist Situation of the of Sylvia Beach, called her ―the angelic Mabel Gardner who sculpts graceful figures in Object" and Ernst's 1934 essay titled "What is Surrealism," leads to an understanding of the wood‖. She exhibited regularly in the Salon des Indépendants and the Salon d‘Automne and stones not only as sculptures, but also as objects. The encounter with the granite stones led was widely reviewed. Ernst to continue his fascination with the objet trouvé and objet naturel. With the discovery of the techniques of frottage and grattage, Ernst explored alternative ways to produce new Her work, often depicting the Virgin and Child, was rough, evoking spirit through forms from existing designs in nature. He maintained this interest with the granite stones by matter. In 1960, Joseph Pichard described her work as keeping the wood in its exaggerating the existing form by chiseling and painting biomorphic shapes onto the surface ―rudesse‖ (roughness, brutality), animating it only by investigations of slight expression. of polished granite. This paper is the first comprehensive survey on Ernst's sculptural pro- This is clearly evident in her late sculptures, where the marks of the chisel cause a kind of duction from Maloja and investigates how the stones function in the discourse of the Surre- vibrating stutter that almost effaces the form. Two such sculptures are found in the modern alist object and in Ernst's oeuvre. church built by Pierre Vago in the bombed out city of Le Mans. The church and the sculptures by Mabel Gardner formed the emotional centers of Vago‘s public housing project through a modernist reinterpretation of spirituality.

39 40 Modern Art I—Sculpture: Nineteenth-Century Arti The Meanings of Materials Sculpture/Object: Max Ernst's Stones from Maloja Remembering Italy: The Therapeutic Function of the Female Figure in the Late Paintings of Camille Corot Hannah S. Fullgraf, Ph.D. Candidate, Rice University Brigid Boyle, Project Assistant, French Paintings Catalog, Nelson-Atkins Museum

During a month-long sojourn in 1935, at Alberto Giacometti's home in Maloja, Switzerland, Max Ernst and Giacometti explored the surrounding landscape of the Swiss Jean-Baptiste-Camille Corot is remembered today as one of the preeminent landscape Alps, hiking to the moraines of the Forno Glacier. Impressed by the multitude of granite painters of the nineteenth century. While this reputation is well deserved, it has long over- stones, worn smooth by the passing of time, the two artists entered into what Ernst referred shadowed his contributions to figure painting. During the last twenty-five years of Corot‘s to as "a sculpture fever." Ernst created roughly twenty sculptures from the round and ovoid life, female models clad in Italianate garments served as his constant muse. He experiment- granite stones. The stones inspired Ernst to render, with a chisel or paint brush, the forces of ed relentlessly with different iterations of the same pose, switching one prop for another as nature that formed the awe-inspiring landscape of the Swiss Alps and the images concealed needed; yet despite these substitutions, the figures project a similarly ambiguous emotional within Ernst's unconscious. state. Most present blank faces, as if they are lost in melancholic reverie, oblivious to the viewer. Upon Corot‘s death in 1875, scholars were mystified by these repetitious, psycho- Close readings of André Breton's 1935 lecture titled "The Surrealist Situation of the logically complex paintings, which, with few exceptions, had never left his studio. Despite a Object" and Ernst's 1934 essay titled "What is Surrealism," leads to an understanding of the landmark monographic exhibition at the Louvre in 1962, Corot‘s figure paintings still re- stones not only as sculptures, but also as objects. The encounter with the granite stones led quire further study. Ernst to continue his fascination with the objet trouvé and objet naturel. With the discovery of the techniques of frottage and grattage, Ernst explored alternative ways to produce new Previous scholars have tended to trivialize Corot‘s female figures as costume studies, or forms from existing designs in nature. He maintained this interest with the granite stones by construed them as the unattainable fantasies of a lifelong bachelor. In contrast, I will argue exaggerating the existing form by chiseling and painting biomorphic shapes onto the surface that Corot fixated upon the female figure in order to mourn the loss of Italy, a nation whose of polished granite. This paper is the first comprehensive survey on Ernst's sculptural pro- people, culture, and geography profoundly affected his artistic development. Like many as- duction from Maloja and investigates how the stones function in the discourse of the Surre- piring painters, Corot moved to Italy early in his career and embraced a peripatetic lifestyle: alist object and in Ernst's oeuvre. over the course of three years, he became intimately familiar with the countryside surrounding Rome. He returned to the Italian peninsula again in 1834 and 1843, but his plans for a

fourth trip never materialized. As time passed, the absence of Italy weighed heavily on him. Drawing on the writings of Sigmund Freud and Roland Barthes, I will demonstrate that Corot‘s obsessive painting of the female figure enabled him to accept the loss of his youth, figured in his work as Italy, and the inevitable advent of age.

Nineteenth-Century Arti Nineteenth-Century Art

Remembering Italy: The Therapeutic Function of the Female Figure in the Late L’Oiseau du mal The Raven of Poe, Mallarmé, and Manet as harbinger of destructive Paintings of Camille Corot change in Haussmannian Paris Brigid Boyle, Project Assistant, French Paintings Catalog, Nelson-Atkins Museum Natalie J. A. Benson, Ph.D. candidate, Interdisciplinary Studies Program, University of Iowa

Jean-Baptiste-Camille Corot is remembered today as one of the preeminent landscape In his treatise on the poetry of Edgar Allan Poe, Edward Shanks linked the poetic painters of the nineteenth century. While this reputation is well deserved, it has long over- imagery of the American Romantic poet to a ―mysterious landscape‖ where the nerve- shadowed his contributions to figure painting. During the last twenty-five years of Corot‘s wracked reader realizes halfway through the poem that underneath the scenery lays poor life, female models clad in Italianate garments served as his constant muse. He experiment- quality paint on inferior canvas. This striking description echoes in the lithographs Edouard ed relentlessly with different iterations of the same pose, switching one prop for another as Manet created to accompany Stéphane Mallarmé‘s translation of Poe‘s landmark poem, ―The needed; yet despite these substitutions, the figures project a similarly ambiguous emotional Raven.‖ Printed on ecru paper instead of painted on canvas, the images of Le Corbeau depict state. Most present blank faces, as if they are lost in melancholic reverie, oblivious to the specific narrative moments from the poem, yet they tell a deeper story and have multiple lay- viewer. Upon Corot‘s death in 1875, scholars were mystified by these repetitious, psycho- ers that become discernable when seen in their sociocultural, historic moment. A critique of logically complex paintings, which, with few exceptions, had never left his studio. Despite a Paris‘s modernization under Napoleon III and Baron Georges-Eugène Haussmann becomes landmark monographic exhibition at the Louvre in 1962, Corot‘s figure paintings still re- perceptible under closer scrutiny of Manet‘s image, À la fenêtre. Other works with modern quire further study. subjects touching on the city of Paris that Manet painted during the same period as Le Cor- beau help to illuminate how the French painter was against certain aspects of Haussmanniza- Previous scholars have tended to trivialize Corot‘s female figures as costume studies, or tion. Exploring the symbol of the raven in conjunction with the poem and À la fenêtre fur- construed them as the unattainable fantasies of a lifelong bachelor. In contrast, I will argue thers the interpretation of Manet‘s disapproval of the method behind Old Paris‘s demolition, that Corot fixated upon the female figure in order to mourn the loss of Italy, a nation whose reconstitution, and the removal of her people. The poem of Poe itself lends a great deal of people, culture, and geography profoundly affected his artistic development. Like many as- influence to Manet‘s works, with its dark, emotional language, but there are other influences piring painters, Corot moved to Italy early in his career and embraced a peripatetic lifestyle: in the poetry and figures of Mallarmé and Charles Baudelaire that contribute to À la fenêtre over the course of three years, he became intimately familiar with the countryside surround- that I explore in this paper. Le Corbeau is considered to be the first modern livre de peintre, ing Rome. He returned to the Italian peninsula again in 1834 and 1843, but his plans for a a collaborative venture important in its daring, new style of design, production, and unusual fourth trip never materialized. As time passed, the absence of Italy weighed heavily on him. conception and execution of imagery. The six lithographs by Manet, especially the last im- Drawing on the writings of Sigmund Freud and Roland Barthes, I will demonstrate that age of the book, should be considered an avant-garde landmark as predecessors to Abstract Corot‘s obsessive painting of the female figure enabled him to accept the loss of his youth, Art. figured in his work as Italy, and the inevitable advent of age.

41 42 Nineteenth-Century Art Nineteenth-Century Arti

L’Oiseau du mal The Raven of Poe, Mallarmé, and Manet as harbinger of destructive French Modernism and Poster Hoardings in Working-Class Paris: Maximilien Luce‘s change in Haussmannian Paris La Rue Mouffetard (1889-1890) Natalie J. A. Benson, Ph.D. candidate, Interdisciplinary Studies Program, University of Iowa Karen L. Carter, Assistant Professor of Art History and Chair, Kendall College of Art and Design of Farris State University

In his treatise on the poetry of Edgar Allan Poe, Edward Shanks linked the poetic imagery of the American Romantic poet to a ―mysterious landscape‖ where the nerve- Although art historical scholarship has typically characterized the relationship of wracked reader realizes halfway through the poem that underneath the scenery lays poor commodity culture (or mass culture) to modern visual art as a contentious one (T.J. Clark in quality paint on inferior canvas. This striking description echoes in the lithographs Edouard particular), more recently Ruth E. Iskin has documented the widespread assimilation of the Manet created to accompany Stéphane Mallarmé‘s translation of Poe‘s landmark poem, ―The imagery of advertising posters, shop signs and window displays into Impressionist painting. Raven.‖ Printed on ecru paper instead of painted on canvas, the images of Le Corbeau depict The next generation of artists associated with Neo-Impressionism equally addressed the sub- specific narrative moments from the poem, yet they tell a deeper story and have multiple lay- ject of advertising as a central theme and concern as did Maximilien Luce in his painting La ers that become discernable when seen in their sociocultural, historic moment. A critique of Rue Mouffetard (1889-1890, Indianapolis Museum of Art), a painting that featured a large Paris‘s modernization under Napoleon III and Baron Georges-Eugène Haussmann becomes advertising hoarding as dominating the working-class neighborhood. Both Martha Ward and perceptible under closer scrutiny of Manet‘s image, À la fenêtre. Other works with modern Robyn Roslak have analyzed this painting in their studies of Neo-Impressionism, but with- subjects touching on the city of Paris that Manet painted during the same period as Le Cor- out fully contextualizing the depiction of advertising in the painting nor providing a ra- beau help to illuminate how the French painter was against certain aspects of Haussmanniza- tionale for its display in the neighborhood. Instead, this paper will use historical photo- tion. Exploring the symbol of the raven in conjunction with the poem and À la fenêtre fur- graphs, documents from publicity firms and critical writings from the 1880s and 1890s to thers the interpretation of Manet‘s disapproval of the method behind Old Paris‘s demolition, explore the painting as providing a visual remnant of the integration of advertising into reconstitution, and the removal of her people. The poem of Poe itself lends a great deal of working-class quartiers. As this paper will argue, La Rue Mouffetard should also be ana- influence to Manet‘s works, with its dark, emotional language, but there are other influences lyzed within the specific reception of the advertising poster in avant-garde circles, which in the poetry and figures of Mallarmé and Charles Baudelaire that contribute to À la fenêtre imbued the affiche with a decidedly political reading, rather than assuming it provides us that I explore in this paper. Le Corbeau is considered to be the first modern livre de peintre, with evidence of middle-class commercial consumption. a collaborative venture important in its daring, new style of design, production, and unusual conception and execution of imagery. The six lithographs by Manet, especially the last image of the book, should be considered an avant-garde landmark as predecessors to Abstract Art.

Nineteenth-Century Arti Recent Acquisitions in Midwestern Collections

French Modernism and Poster Hoardings in Working-Class Paris: Maximilien Luce‘s Congolese Sculpture for the Cleveland Museum of Art: The Delenne Acquisition La Rue Mouffetard (1889-1890) Constantine Petridis, Curator of African Art, Cleveland Museum of Art Karen L. Carter, Assistant Professor of Art History and Chair, Kendall College of Art and Design of Farris State University

Although art historical scholarship has typically characterized the relationship of In 2010 the Cleveland Museum of Art acquired thirty-four Congo sculptures from commodity culture (or mass culture) to modern visual art as a contentious one (T.J. Clark in the Belgian collectors René and Odette Delenne. They made their American debut in the particular), more recently Ruth E. Iskin has documented the widespread assimilation of the exhibition ―Fragments of the Invisible,‖ on view in Cleveland from October 27, 2013, to imagery of advertising posters, shop signs and window displays into Impressionist painting. February 9, 2014. Truly transformational, the addition of the Delenne collection has in- The next generation of artists associated with Neo-Impressionism equally addressed the sub- creased the Cleveland museum‘s permanent African holdings by more than ten percent. ject of advertising as a central theme and concern as did Maximilien Luce in his painting La Focusing on the themes of the fragment and the invisible, this lecture will explore the con- Rue Mouffetard (1889-1890, Indianapolis Museum of Art), a painting that featured a large textual setting of the Delenne works both in their various African cultural settings and with- advertising hoarding as dominating the working-class neighborhood. Both Martha Ward and in their new museum home in Cleveland. Robyn Roslak have analyzed this painting in their studies of Neo-Impressionism, but without fully contextualizing the depiction of advertising in the painting nor providing a ra- tionale for its display in the neighborhood. Instead, this paper will use historical photographs, documents from publicity firms and critical writings from the 1880s and 1890s to explore the painting as providing a visual remnant of the integration of advertising into working-class quartiers. As this paper will argue, La Rue Mouffetard should also be analyzed within the specific reception of the advertising poster in avant-garde circles, which imbued the affiche with a decidedly political reading, rather than assuming it provides us with evidence of middle-class commercial consumption.

43 44 Recent Acquisitions in Recent Acquisitions in Midwestern Collections Midwestern Collectionsi

th Congolese Sculpture for the Cleveland Museum of Art: The Delenne Acquisition Joseph Claus‘s Bust of Caracalla: An 18 -Century Look at an Ancient Masterpiece Constantine Petridis, Curator of African Art, Cleveland Museum of Art Judith W. Mann, Curator, European Art to 1800, Saint Louis Art Museum

Joseph Claus‘s Bust of Caracalla demonstrates the sculptor‘s great talent at render- In 2010 the Cleveland Museum of Art acquired thirty-four Congo sculptures from ing likeness and his adept carving of marble, making it a masterful example of the Neo- the Belgian collectors René and Odette Delenne. They made their American debut in the classical style. The bust is one of six known copies after the famous ancient Caracalla that exhibition ―Fragments of the Invisible,‖ on view in Cleveland from October 27, 2013, to was acquired by the Farnese family in Rome during the 16th century. That bust remained in February 9, 2014. Truly transformational, the addition of the Delenne collection has in- the ducal family‘s palace until 1787, when it was shipped together with the rest of the Farne- creased the Cleveland museum‘s permanent African holdings by more than ten percent. se collection to Naples, where it can still be seen at the Museo Nazionale. Very little is Focusing on the themes of the fragment and the invisible, this lecture will explore the con- known about Joseph Claus; he has yet to be the focus of extended study. He was born in textual setting of the Delenne works both in their various African cultural settings and with- Cologne, and his earliest dated bust (1754) portrays Clemens August von Wittelsbach, in their new museum home in Cleveland. Archbishop and Elector of Cologne and a member of one of the most powerful families of the time. Claus arrived in Rome by 1755, and remained there for most of his career. He is known for his finely-detailed classicizing portraits that are tour-de-forces of marble carving and for his copies after the antique. This paper will analyze Claus‘s Bust of Caracalla in terms of what little is known about the artist as well as evaluate the sculpture in the context of other copies executed by Claus‘s contemporaries.

Recent Acquisitions in Recent Acquisitions in Midwestern Collectionsi Midwestern Collections

Joseph Claus‘s Bust of Caracalla: An 18th-Century Look at an Ancient Masterpiece Nineteenth-Century Portraits of Women by Duveneck and Madrazo: Two Recent Gifts to the Taft Museum of Art Judith W. Mann, Curator, European Art to 1800, Saint Louis Art Museum Tamera Lenz Muente, Assistant Curator, Taft Museum of Art

Joseph Claus‘s Bust of Caracalla demonstrates the sculptor‘s great talent at render- This paper discusses the gift two exceptional portraits of women to the Taft Muse- ing likeness and his adept carving of marble, making it a masterful example of the Neo- um of Art in 2012. The frist portrait, Frank Duveneck‘s, An Italian Woman, ca. 1880, was classical style. The bust is one of six known copies after the famous ancient Caracalla that painted by an artist born just across the river from Cincinnati, who became an influential was acquired by the Farnese family in Rome during the 16th century. That bust remained in teacher in Munich, Germany; Florence, Italy; and Cincinnati. The Taft already owned an the ducal family‘s palace until 1787, when it was shipped together with the rest of the Farne- important example of Duveneck‘s work, The Cobbler’s Apprentice, 1877, from the artist‘s se collection to Naples, where it can still be seen at the Museo Nazionale. Very little is Munich period, which was distinguished by studio-lit figures placed before dark back- known about Joseph Claus; he has yet to be the focus of extended study. He was born in grounds. By contrast, Portrait of an Italian Woman reveals an interest in atmospheric light Cologne, and his earliest dated bust (1754) portrays Clemens August von Wittelsbach, and more vivid colors. The gift of this portrait study provides an instructive comparison be- Archbishop and Elector of Cologne and a member of one of the most powerful families of tween Duveneck‘s Munich period and his work created in Italy. the time. Claus arrived in Rome by 1755, and remained there for most of his career. He is The second portrait, Raimundo de Madrazo Garreta‘s, Jane Ellison Sinton, 1903, is known for his finely-detailed classicizing portraits that are tour-de-forces of marble carving by an artist who painted Taft Museum of Art founders Charles and Anna Taft. The Tafts and for his copies after the antique. This paper will analyze Claus‘s Bust of Caracalla in were so pleased with their portraits painted by Madrazo in 1902 that they commissioned the terms of what little is known about the artist as well as evaluate the sculpture in the context artist to paint posthumous portraits of Anna‘s parents. The portrait of Anna‘s father, David of other copies executed by Claus‘s contemporaries. Sinton, has been on long-term loan to the museum for several years. The gift of her mother‘s portrait offers the opportunity to exhibit the portraits as pendants, as originally intended. The only known extant likeness of Anna Taft‘s mother, the portrait supports the Taft‘s mission of interpreting the history of the former residents of the historic house that is now the Taft Museum of Art.

45 46 Recent Acquisitions in Medieval Arti Midwestern Collections

Nineteenth-Century Portraits of Women by Duveneck and Madrazo: Two Recent Gifts Gerald of Wales‘s Ekphrasis and the Book of Kells to the Taft Museum of Art Dorothy Verkerk, Associate Professor, University of North Carolina at Chapel Hill Tamera Lenz Muente, Assistant Curator, Taft Museum of Art

―But if you take the trouble to look very closely, and penetrate with your eyes to the This paper discusses the gift two exceptional portraits of women to the Taft Muse- secrets of the artistry,…you will not hesitate to declare that all these things must have been um of Art in 2012. The frist portrait, Frank Duveneck‘s, An Italian Woman, ca. 1880, was the result of the work, not of men, but of angels.‖ Scholars often use Gerald of Wales‘s fa- painted by an artist born just across the river from Cincinnati, who became an influential mous description to praise the Book of Kells, with little regard to the passage‘s context. Nor teacher in Munich, Germany; Florence, Italy; and Cincinnati. The Taft already owned an is it certain that Gerald was admiring the Book of Kells or a similar book in the monastery of important example of Duveneck‘s work, The Cobbler’s Apprentice, 1877, from the artist‘s Kildare. This paper reassesses Gerald‘s ekphrasis, placing it within the framework of his Munich period, which was distinguished by studio-lit figures placed before dark back- entire Topographia Hiberniae, which explains for an Anglo-Norman audience what he has grounds. By contrast, Portrait of an Italian Woman reveals an interest in atmospheric light seen in Ireland. The manuscript is considered within Gerald‘s account of the unnatural and more vivid colors. The gift of this portrait study provides an instructive comparison be- sights in Ireland: bearded women, beastly men, and ―things appearing to be contrary to na- tween Duveneck‘s Munich period and his work created in Italy. ture‘s course.‖ Essential to rethinking Gerald‘s writing is a closer analysis of how he under- The second portrait, Raimundo de Madrazo Garreta‘s, Jane Ellison Sinton, 1903, is stood the angelic hand, the true artist of the drawings, in the creation of the manuscript, by an artist who painted Taft Museum of Art founders Charles and Anna Taft. The Tafts which he was told was made during the lifetime of the Virgin. The viewer is admonished to were so pleased with their portraits painted by Madrazo in 1902 that they commissioned the see, not with material eyes, but with spiritual eyes to penetrate the heavenly mysteries to be artist to paint posthumous portraits of Anna‘s parents. The portrait of Anna‘s father, David discerned in the Celtic interlace, triskeles and figures; without this special way of seeing, the Sinton, has been on long-term loan to the museum for several years. The gift of her mother‘s human (bodily) eyes will only see daubs and things that are ―ridiculous and impossible.‖ portrait offers the opportunity to exhibit the portraits as pendants, as originally intended. The only known extant likeness of Anna Taft‘s mother, the portrait supports the Taft‘s mission of interpreting the history of the former residents of the historic house that is now the Taft Museum of Art.

Medieval Arti Medieval Art

Gerald of Wales‘s Ekphrasis and the Book of Kells Reading Between the Lions: A Surviving Capital at Maillezais Abbey Dorothy Verkerk, Associate Professor, University of North Carolina at Chapel Hill Laura Lee Brott, M.A. Candidate, University of North Texas

―But if you take the trouble to look very closely, and penetrate with your eyes to the A surviving capital at Maillezais abbey, the ―Victory Capital,‖ sits on an engaged secrets of the artistry,…you will not hesitate to declare that all these things must have been column in the outer aisle of the nave. Created in the tenth century, the capital depicts a cen- the result of the work, not of men, but of angels.‖ Scholars often use Gerald of Wales‘s fa- tral male form surrounded by a pair of lions. He stretches his arms upward, and grasps or- mous description to praise the Book of Kells, with little regard to the passage‘s context. Nor ganic tendrils above his head in attempt to save himself from the beasts that pull him toward is it certain that Gerald was admiring the Book of Kells or a similar book in the monastery of the marshy landscape below his hips. Marie Therese Camus, Elisabeth Carpentier and Anat Kildare. This paper reassesses Gerald‘s ekphrasis, placing it within the framework of his Tcherikover‘s published volumes, along with the Zodiaque series, provide formal analyses entire Topographia Hiberniae, which explains for an Anglo-Norman audience what he has of the sculpture but do not largely address the ―Victory Capital‖ or similar images that de- seen in Ireland. The manuscript is considered within Gerald‘s account of the unnatural pict the struggle between man and the wild elements as a separate or specific type of icono- sights in Ireland: bearded women, beastly men, and ―things appearing to be contrary to na- graphy. This paper steps outside of these authors‘ methodologies and considers the receptive ture‘s course.‖ Essential to rethinking Gerald‘s writing is a closer analysis of how he under- and narratological contexts of these types of images, suggesting in particular that these im- stood the angelic hand, the true artist of the drawings, in the creation of the manuscript, ages spiritualize a monastic claiming of the landscape, and, specifically in the case of the which he was told was made during the lifetime of the Virgin. The viewer is admonished to Victory Capital, hearken to tropes rooted in the biblical past that emphasize the strength of see, not with material eyes, but with spiritual eyes to penetrate the heavenly mysteries to be man and the power of human perseverance. The concept of man versus beast and landscape discerned in the Celtic interlace, triskeles and figures; without this special way of seeing, the can be found in the Sumerian epic of Gilgamesh, and throughout the bible, particularly in human (bodily) eyes will only see daubs and things that are ―ridiculous and impossible.‖ the Book of Daniel. The wild elements of the landscape are emphasized in these stories as tools to the divine. Man negotiates with the elements, and his struggle for victory is ultimately signified by the physical presence of the church within the natural landscape.

47 48 Medieval Art Medieval Arti

Reading Between the Lions: A Surviving Capital at Maillezais Abbey The Visual Traditions of the Education of the Virgin Mary in Late Medieval France Laura Lee Brott, M.A. Candidate, University of North Texas Julia Finch, Visiting Instructor, Saint Vincent College

A surviving capital at Maillezais abbey, the ―Victory Capital,‖ sits on an engaged The Education of the Virgin, an apocryphal episode from the childhood of the Vir- column in the outer aisle of the nave. Created in the tenth century, the capital depicts a cen- gin Mary, was popularized for medieval audiences in Jacobus de Voragine‘s thirteenth- tral male form surrounded by a pair of lions. He stretches his arms upward, and grasps or- century Golden Legend text. Although written sources are vague with regards to the nature ganic tendrils above his head in attempt to save himself from the beasts that pull him toward of the Virgin Mary‘s formal education, a rich visual tradition emerged in the twelfth- the marshy landscape below his hips. Marie Therese Camus, Elisabeth Carpentier and Anat through the sixteenth-centuries in France and England, specifically in stained glass, sculp- Tcherikover‘s published volumes, along with the Zodiaque series, provide formal analyses ture, and Books of Hours. Most of the images depict the Virgin Mary learning to read at the of the sculpture but do not largely address the ―Victory Capital‖ or similar images that de- knee of her mother, Saint Anne, and such images were often found in Books of Hours— pict the struggle between man and the wild elements as a separate or specific type of icono- appropriate, given the personal, pious nature of owning and reading devotional books. How- graphy. This paper steps outside of these authors‘ methodologies and considers the receptive ever, variations on the education motif include Mary learning in a classroom with a male and narratological contexts of these types of images, suggesting in particular that these im- schoolmaster and male pupils, Mary with books in hand traversing a landscape and walking ages spiritualize a monastic claiming of the landscape, and, specifically in the case of the to school, and Mary teaching other students. These variations indicate that select images of Victory Capital, hearken to tropes rooted in the biblical past that emphasize the strength of the Virgin Mary as both student and teacher promoted an academic context for the Educa- man and the power of human perseverance. The concept of man versus beast and landscape tion episode as an alternative to the maternal dissemination of knowledge. can be found in the Sumerian epic of Gilgamesh, and throughout the bible, particularly in In this project, I examine images of the Virgin Mary in academic environments, the Book of Daniel. The wild elements of the landscape are emphasized in these stories as modeled on medieval educational environments in cathedral and monastic schools as well as tools to the divine. Man negotiates with the elements, and his struggle for victory is ulti- the intimate, domestic spaces in which knowledge passed from a mother to her daughter, in mately signified by the physical presence of the church within the natural landscape. order to assess Mary‘s role and the role of reading in the broader medieval contexts of gender, education, and piety.

Medieval Arti Kinetic Art: Then and Now

The Visual Traditions of the Education of the Virgin Mary in Late Medieval France Practising Agency: A Walk in GRAV‘s Labyrinth Julia Finch, Visiting Instructor, Saint Vincent College Agnes Berecz, Visiting Assistant Professor, Pratt Institute

The Education of the Virgin, an apocryphal episode from the childhood of the Vir- gin Mary, was popularized for medieval audiences in Jacobus de Voragine‘s thirteenth- Group de recherché d’art visuel (GRAV) has a specific place among the artists and century Golden Legend text. Although written sources are vague with regards to the nature collectives associated with the practice of kinetic art. The international group of Paris based of the Virgin Mary‘s formal education, a rich visual tradition emerged in the twelfth- artists active between 1960 and 1968 was a constitutive part of a transnational network of through the sixteenth-centuries in France and England, specifically in stained glass, sculp- initiatives, variously described as arte programmate, Nove Tendencija, and cinetismo, and ture, and Books of Hours. Most of the images depict the Virgin Mary learning to read at the by their interactive objects and multi‐sensorial environments proposed new modalities to knee of her mother, Saint Anne, and such images were often found in Books of Hours— engage with their public and the technical objects of everyday life. Relying on the use of appropriate, given the personal, pious nature of owning and reading devotional books. How- advanced industrial devices and materials as well as of simple machines and toys, GRAV‘s ever, variations on the education motif include Mary learning in a classroom with a male interactive environments reconfigured the relationship of objects, spaces and spectators thus schoolmaster and male pupils, Mary with books in hand traversing a landscape and walking joining the critical discourse of technology and everyday life present in the writings of Hen- to school, and Mary teaching other students. These variations indicate that select images of ri Lefebvre and Gilbert Simondon. By a close reading of Labyrinth, the collectively con- the Virgin Mary as both student and teacher promoted an academic context for the Educa- structed, interactive environment displayed in various constellations in Europe and the tion episode as an alternative to the maternal dissemination of knowledge. Americas from 1962 to 1965, and by expanding on the conflicting early reception of the

In this project, I examine images of the Virgin Mary in academic environments, group‘s work by Frank Popper and Guy Brett, the paper examines the political implications modeled on medieval educational environments in cathedral and monastic schools as well as of GRAV‘s use of technical objects and playful activation of spectators. Asking how Laby- the intimate, domestic spaces in which knowledge passed from a mother to her daughter, in rinth relates to experiences of alienation, practices of emancipatory politics, and to the con- order to assess Mary‘s role and the role of reading in the broader medieval contexts of gen- sumer technology driven industry of fun, it situates GRAV‘s work in the context of contem- der, education, and piety. poraneous social and political discourses of technology and spectatorial agency.

49 50 Kinetic Art: Then and Now Kinetic Art: Then and Nowi

Practising Agency: A Walk in GRAV‘s Labyrinth The Perceptual Gymnastics of Gruppo T

Agnes Berecz, Visiting Assistant Professor, Pratt Institute Marina Isgro, Ph.D Candidate, University of Pennsylvania

The members of the Italian kinetic art collective Gruppo T—Giovanni Anceschi, Group de recherché d’art visuel (GRAV) has a specific place among the artists and Davide Boriani, Gianni Colombo, Gabriele de Vecchi, and Grazia Varisco—imagined art to collectives associated with the practice of kinetic art. The international group of Paris based be a full-body experience. From the dizzying strobes and mirrors of Boriani‘s walk-in envi- artists active between 1960 and 1968 was a constitutive part of a transnational network of ronment Ambiente stroboscopico n.4 (1967), to the shifting ultraviolet grid of Colombo‘s initiatives, variously described as arte programmate, Nove Tendencija, and cinetismo, and Spazio elastico (1967), their work left the viewer off-balance, estranged from his or her per- by their interactive objects and multi‐sensorial environments proposed new modalities to ceptual habits. engage with their public and the technical objects of everyday life. Relying on the use of advanced industrial devices and materials as well as of simple machines and toys, GRAV‘s For critics like Umberto Eco, such art could serve as a training-ground for the man interactive environments reconfigured the relationship of objects, spaces and spectators thus of the future, asked to assimilate multiple, decentered streams of information. Yet others joining the critical discourse of technology and everyday life present in the writings of Hen- remained skeptical of kinetic art‘s professed didactic function, worrying about the work‘s ri Lefebvre and Gilbert Simondon. By a close reading of Labyrinth, the collectively con- closeness to uncritical entertainment: it risked, in Lea Vergine‘s scathing critique, ―reducing structed, interactive environment displayed in various constellations in Europe and the to Luna-Park scraps what was born with revolutionary intent.‖ Indeed, the shadow of the Americas from 1962 to 1965, and by expanding on the conflicting early reception of the amusement park trailed kinetic art from the beginning, seemingly echoing both its appear- group‘s work by Frank Popper and Guy Brett, the paper examines the political implications ance—its flashing lights and moving parts—and the unsettling bodily experiences it elicited. of GRAV‘s use of technical objects and playful activation of spectators. Asking how Laby- My paper takes seriously the comparison of kinetic art to the amusement park, locat- rinth relates to experiences of alienation, practices of emancipatory politics, and to the con- ing in it provocative questions surrounding this art‘s relation to the body and perception. I sumer technology driven industry of fun, it situates GRAV‘s work in the context of contem- take Gruppo T and the criticism around it—including perspectives from perceptual psychol- poraneous social and political discourses of technology and spectatorial agency. ogy and phenomenology—as a case study to explore several of these questions: For 1960s audiences, to what extent could sensations like nausea and dizziness—familiar from roller- coasters and ghost-trains—form part of the aesthetic experience? How might such sensations serve critical, even political, ends? Finally, I explore how we might reconcile kinetic art‘s didactic aims with the experiences of apparent non-knowledge—the oneiric, the hypnotic— reported by its first viewers.

Kinetic Art: Then and Nowi Kinetic Art: Then and Now

The Perceptual Gymnastics of Gruppo T ―The Machine Remains Only a Machine‖: Soviet Kinetic Sculpture in the 1960s

Marina Isgro, Ph.D Candidate, University of Pennsylvania Maia Toteva, Assistant Professor, Universy of Cincinnati Blue Ash College

My paper examines the kinetic installations of the group Dvizhenie [Movement]—a The members of the Italian kinetic art collective Gruppo T—Giovanni Anceschi, leading unofficial alliance in Soviet Russia in the 1960s-1970s. A preeminent underground Davide Boriani, Gianni Colombo, Gabriele de Vecchi, and Grazia Varisco—imagined art to group at the Thaw of Khrushchev, the alliance was founded in 1962-1964 by Lev Nusberg be a full-body experience. From the dizzying strobes and mirrors of Boriani‘s walk-in envi- and four students at the Surikov Institute. Their collaboration lasted until 1974 when Nus- ronment Ambiente stroboscopico n.4 (1967), to the shifting ultraviolet grid of Colombo‘s berg emigrated to the U.S. Designing kinetic sculptures and installations, the group used Spazio elastico (1967), their work left the viewer off-balance, estranged from his or her per- abstract geometric and spatial compositions to evoke the idea of progress and movement. ceptual habits. Historically, Dvizhenie’s kinetic work revived the suppressed formalist language of the Rus-

For critics like Umberto Eco, such art could serve as a training-ground for the man sian avant-gardes of the early 20th century and advanced progressive ideas through large of the future, asked to assimilate multiple, decentered streams of information. Yet others public projects. Such projects conveyed notions of artistic freedom to a broad Soviet audi- remained skeptical of kinetic art‘s professed didactic function, worrying about the work‘s ence at a time when nonconformist art was a perilous activity, performed in secret and seen closeness to uncritical entertainment: it risked, in Lea Vergine‘s scathing critique, ―reducing underground. to Luna-Park scraps what was born with revolutionary intent.‖ Indeed, the shadow of the Contextualizing Dvizhenie‘s avant-garde gesture, the paper will demonstrate that in amusement park trailed kinetic art from the beginning, seemingly echoing both its appear- the 1960s the group capitalized on the increased state support of the sciences and, particular- ance—its flashing lights and moving parts—and the unsettling bodily experiences it elicited. ly, of the new scientific branch—cybernetics. The group adopted cybernetic principles and language at a time when the top echelon of the Soviet government—the Central Committee My paper takes seriously the comparison of kinetic art to the amusement park, locat- of the Communist Party—officially endorsed the theory of control systems (cybernetics) as ing in it provocative questions surrounding this art‘s relation to the body and perception. I a panacea destined to save the failing socialist economy. While Dvizhenie’s sculpture com- take Gruppo T and the criticism around it—including perspectives from perceptual psychol- bined the technical lingo of the new science with exploration of formalist issues, the group‘s ogy and phenomenology—as a case study to explore several of these questions: For 1960s manifestoes cautioned against the glorification of machines and used scientific principles to audiences, to what extent could sensations like nausea and dizziness—familiar from roller- convey the power of human imagination and the need for freedom of thinking. coasters and ghost-trains—form part of the aesthetic experience? How might such sensations serve critical, even political, ends? Finally, I explore how we might reconcile kinetic art‘s didactic aims with the experiences of apparent non-knowledge—the oneiric, the hypnotic— reported by its first viewers.

51 52 Kinetic Art: Then and Now Special Session in the Printi Room: Prints in Seriesi

―The Machine Remains Only a Machine‖: Soviet Kinetic Sculpture in the 1960s OLandO: Jack Kerouac, Sputnik & Disney World Maia Toteva, Assistant Professor, Universy of Cincinnati Blue Ash College Carmon Colangelo, Dean, Sam Fox School Design & Visual Arts, Washington University

My paper examines the kinetic installations of the group Dvizhenie [Movement]—a This suite of prints explores the phenomenon of the disappearance of local culture leading unofficial alliance in Soviet Russia in the 1960s-1970s. A preeminent underground and the growing sense of sameness that has emerged through gradual homogenization of group at the Thaw of Khrushchev, the alliance was founded in 1962-1964 by Lev Nusberg contemporary life. The concept grew out of a personal mapping based on chance and dis- and four students at the Surikov Institute. Their collaboration lasted until 1974 when Nus- covery over a seven-day period in Orlando, Florida. The structure was conceived as a series berg emigrated to the U.S. Designing kinetic sculptures and installations, the group used of seven interrelated, recto-verso prints that could eventually be folded into a ―road map‖ to abstract geometric and spatial compositions to evoke the idea of progress and movement. create a portable exhibition. Historically, Dvizhenie’s kinetic work revived the suppressed formalist language of the Rus- Seven days in Orlando began with a trip into the city on Highway I-4 and an even- sian avant-gardes of the early 20th century and advanced progressive ideas through large ing at a Sheraton Hotel watching Howl, a movie based on the life of beat poet Allen Gins- public projects. Such projects conveyed notions of artistic freedom to a broad Soviet audi- berg. This led to a serendipitous connection to Jack Kerouac, who I came to find out lived in ence at a time when nonconformist art was a perilous activity, performed in secret and seen Orlando where he wrote Dharma Bums over 11 days in 1957, just as his book On the Road underground. was receiving national attention. Kerouac was also pondering the events of Sputnik, the first Contextualizing Dvizhenie‘s avant-garde gesture, the paper will demonstrate that in artificial satellite to be put into Earth's orbit, at a time when similar seminal forces such as the 1960s the group capitalized on the increased state support of the sciences and, particular- the advent of the national highway system, the explosion of American suburbs, the replica- ly, of the new scientific branch—cybernetics. The group adopted cybernetic principles and tion of small businesses into iconic franchises, the growth of broadcast television, and the language at a time when the top echelon of the Soviet government—the Central Committee founding of Disneyland would eventually help contribute to a generic quality within Ameri- of the Communist Party—officially endorsed the theory of control systems (cybernetics) as can life and culture. a panacea destined to save the failing socialist economy. While Dvizhenie’s sculpture com- The prints in Seven Days in OLandO combine woodblock and letterpress tech- bined the technical lingo of the new science with exploration of formalist issues, the group‘s niques and digital and relief printing, as well as hand coloring on Kitakata paper. Each print manifestoes cautioned against the glorification of machines and used scientific principles to integrates images, texts, notations, and manipulated drawings with references ranging from convey the power of human imagination and the need for freedom of thinking. local migration and citrus plantations to Disney-esque sketches. They also incorporate abstract maps and generic hotel floor plans that suggest modern and post-modern cities with additional references to 20th century American artists including Jackson Pollock and Robert Smithson. Seven Days in OLandO is a playful journey based on the notion that as we become more globally uniform, the local is harder to find.

Special Session in the Printi Special Session in the Print Room: Prints in Seriesi Room: Prints in Series

OLandO: Jack Kerouac, Sputnik & Disney World Etching Recuperation: Whistler and his Venice Sets Carmon Colangelo, Dean, Sam Fox School Design & Visual Arts, Washington University Justin McCann, Colby College Art Museum, Lunder Consortium for Whistler Studies Fel- low; Rutgers University, PhD Candidate in Art History This suite of prints explores the phenomenon of the disappearance of local culture and the growing sense of sameness that has emerged through gradual homogenization of Whistler traveled to Venice from London in the fall of 1879 in a state of turmoil. contemporary life. The concept grew out of a personal mapping based on chance and dis- Bankrupt, he embarked on an artistic commission to produce a series of etchings of Venice covery over a seven-day period in Orlando, Florida. The structure was conceived as a series for the Fine Art Society. The three-month sojourn turned into a fourteen-month residency of seven interrelated, recto-verso prints that could eventually be folded into a ―road map‖ to resulting in two published sets of etchings. Whistler etched well-known Venetian vistas but create a portable exhibition. spent a majority of time etching decaying buildings off the tourist trail. By 1880 much of Seven days in Orlando began with a trip into the city on Highway I-4 and an even- Venice was in a state of disrepair and Whistler, I argue, identified with the ruinous building at a Sheraton Hotel watching Howl, a movie based on the life of beat poet Allen Gins- ings. Coming on the heels of the turbulent Whistler v. Ruskin trial of 1878, Whistler‘s series berg. This led to a serendipitous connection to Jack Kerouac, who I came to find out lived in of etchings represent his attempt at artistic and personal recuperation. Whistler had an abid- Orlando where he wrote Dharma Bums over 11 days in 1957, just as his book On the Road ing interest in both design and transformation that underpinned his aesthetic theories and was receiving national attention. Kerouac was also pondering the events of Sputnik, the first sense of self. This interest also shaped his engagement with the crumbling built environment artificial satellite to be put into Earth's orbit, at a time when similar seminal forces such as of Venice as he used architecture as a constructive and symbolic element in his artistic prac- the advent of the national highway system, the explosion of American suburbs, the replica- tice and identity. With the Venice sets, I explore how Whistler reformulated his selfhood tion of small businesses into iconic franchises, the growth of broadcast television, and the and refined his aesthetic theories and practice by preserving in etched form the dilapidated founding of Disneyland would eventually help contribute to a generic quality within Ameri- structures he saw. I situate Whistler‘s Venice sets – as exemplified by The Garden and The can life and culture. Fruit Stall (St. Louis Museum of Art) – within the context of Whistler‘s construction of his The prints in Seven Days in OLandO combine woodblock and letterpress tech- studio-home ―The White House‖ in 1878 and his relationship to architecture and urban niques and digital and relief printing, as well as hand coloring on Kitakata paper. Each print change. Venice provided Whistler with a history and cityscape of transition that he engaged integrates images, texts, notations, and manipulated drawings with references ranging from with and represented, preserving the city and recuperating himself in the process. local migration and citrus plantations to Disney-esque sketches. They also incorporate abstract maps and generic hotel floor plans that suggest modern and post-modern cities with additional references to 20th century American artists including Jackson Pollock and Robert Smithson. Seven Days in OLandO is a playful journey based on the notion that as we become more globally uniform, the local is harder to find.

53 54 Special Session in the Print Special Session in the Print Room: Prints in Series Room: Prints in Seriesi

Etching Recuperation: Whistler and his Venice Sets Still Life/Precarious Life: Ecology and the Question of Perspective in Isabella Kirk- land‘s ―TAXA‖ Justin McCann, Colby College Art Museum, Lunder Consortium for Whistler Studies Fel- low; Rutgers University, PhD Candidate in Art History Leah Marie Chizek, Research Assistant, Saint Louis Art Museum

Whistler traveled to Venice from London in the fall of 1879 in a state of turmoil. Between 1999 and 2004, artist Isabella Kirkland visited dozens of institutions na- Bankrupt, he embarked on an artistic commission to produce a series of etchings of Venice tionwide in order to research and produce the preparatory sketches of various plants and ani- for the Fine Art Society. The three-month sojourn turned into a fourteen-month residency mals for TAXA, a cycle of six oil paintings that took her nearly five years to complete. In resulting in two published sets of etchings. Whistler etched well-known Venetian vistas but 2011, the Saint Louis Art Museum acquired one of fifty print editions of the cycle, currently spent a majority of time etching decaying buildings off the tourist trail. By 1880 much of on display through May 2013. Venice was in a state of disrepair and Whistler, I argue, identified with the ruinous build- Between them, the six prints in this cycle feature lifelike, true-to-scale depictions of ings. Coming on the heels of the turbulent Whistler v. Ruskin trial of 1878, Whistler‘s series more than 400 different botanical and zoological specimens, some of which are extinct, and of etchings represent his attempt at artistic and personal recuperation. Whistler had an abid- many critically endangered. But while TAXA clearly draws on and pays tribute to the labori- ing interest in both design and transformation that underpinned his aesthetic theories and ous work of identifying and classifying species undertaken by artist-naturalists over several sense of self. This interest also shaped his engagement with the crumbling built environment centuries, Kirkland's sense of scientific "order" is not driven by such categories as genus or of Venice as he used architecture as a constructive and symbolic element in his artistic prac- habitat, but by an eco-critical sensibility that compels her to use a different means of ar- tice and identity. With the Venice sets, I explore how Whistler reformulated his selfhood rangement: namely, the way specific patterns of interrelated human activity, such as trade or and refined his aesthetic theories and practice by preserving in etched form the dilapidated migration, have impacted all manner of species since the mid-eighteenth century. structures he saw. I situate Whistler‘s Venice sets – as exemplified by The Garden and The Fruit Stall (St. Louis Museum of Art) – within the context of Whistler‘s construction of his To do so, Kirkland deliberately revisits and works within the conventions of a very studio-home ―The White House‖ in 1878 and his relationship to architecture and urban specific artistic tradition: the 17-century Dutch still life. In particular, her fanciful arrange- change. Venice provided Whistler with a history and cityscape of transition that he engaged ments and enigmatic backgrounds evoke the floral still lifes of such artists as Rachel Ruysch with and represented, preserving the city and recuperating himself in the process. or Jan van Huysum. Of special interest for this presentation, however, is not merely a search for elective affinities between Kirkland and her predecessors, but also for the ways she lev- erages the conventions of space and perspective in order to (dis)place viewing subjects themselves within TAXA‘s tale of precarious ecologies.

Special Session in the Print Native American Art III – What’s Happening Room: Prints in Seriesi Now in Native Art in the St. Louis Region: Curation, Scholarship, and Collaboration Still Life/Precarious Life: Ecology and the Question of Perspective in Isabella Kirk- Horse Medicine: Curating Native American Art at The Saint Louis Art Museum land‘s ―TAXA‖ Jill Ahlberg Yohe, Assistant Curator, Saint Louis Art Museum Leah Marie Chizek, Research Assistant, Saint Louis Art Museum

Between 1999 and 2004, artist Isabella Kirkland visited dozens of institutions na- This paper discusses the most recent installations and scholarship with the Native tionwide in order to research and produce the preparatory sketches of various plants and ani- American art collection at The Saint Louis Art Museum. A focus on context and on collabo- mals for TAXA, a cycle of six oil paintings that took her nearly five years to complete. In ration with Native artists and community members provides a new view of this collection. 2011, the Saint Louis Art Museum acquired one of fifty print editions of the cycle, currently Collaborative approaches now offer deeper understandings of Native artistic processes, aes- on display through May 2013. thetic systems, and the role and meaning of aesthetic objects in various contexts.

Between them, the six prints in this cycle feature lifelike, true-to-scale depictions of more than 400 different botanical and zoological specimens, some of which are extinct, and many critically endangered. But while TAXA clearly draws on and pays tribute to the labori- ous work of identifying and classifying species undertaken by artist-naturalists over several centuries, Kirkland's sense of scientific "order" is not driven by such categories as genus or habitat, but by an eco-critical sensibility that compels her to use a different means of ar- rangement: namely, the way specific patterns of interrelated human activity, such as trade or migration, have impacted all manner of species since the mid-eighteenth century.

To do so, Kirkland deliberately revisits and works within the conventions of a very specific artistic tradition: the 17-century Dutch still life. In particular, her fanciful arrange- ments and enigmatic backgrounds evoke the floral still lifes of such artists as Rachel Ruysch or Jan van Huysum. Of special interest for this presentation, however, is not merely a search for elective affinities between Kirkland and her predecessors, but also for the ways she lev- erages the conventions of space and perspective in order to (dis)place viewing subjects themselves within TAXA‘s tale of precarious ecologies.

55 56 Native American Art III – What’s Happening Native American Art III – What’s Happening Now in Native Art in the St. Louis Region: Now in Native Art in the St. Louis Region:

Curation, Scholarship, and Collaboration Curation, Scholarship, and Collaborationi Horse Medicine: Curating Native American Art at The Saint Louis Art Museum The Aesthetics of Movement and Sound in Powwow Dance and Regalia Jill Ahlberg Yohe, Assistant Curator, Saint Louis Art Museum Cory Willmott, Southern Illinois University Edwardsville

Priorities and focus in the study and presentation of Native American arts has been This paper discusses the most recent installations and scholarship with the Native driven in large part by the privileged place of visuality in Western culture, due in part to the American art collection at The Saint Louis Art Museum. A focus on context and on collabo- role print literacy plays in knowledge production. This ranking of sensory experience may ration with Native artists and community members provides a new view of this collection. not be appropriate to indigenous worldviews, however. Instead, auditory and tactile senses Collaborative approaches now offer deeper understandings of Native artistic processes, aes- play more prominent roles in knowledge production in traditional lifeways. Additionally, thetic systems, and the role and meaning of aesthetic objects in various contexts. Native American scholars and artists have denounced the objectification of Native Ameri- can peoples in motionless dioramas and the petrification of their traditional arts in an imagined frozen past. Responding to these critiques, many curators and museums are moving towards incorporating intangible culture heritage and heightened sensory experiences into their exhibits and interpretive programs. In concert with these efforts to broaden our attention beyond vision, this paper explores the embodiment of aesthetics in the patterns of contemporary powwow dance movement and the relation between sound and movement in powwow regalia. How do these intangible aesthetic forms express cultural experiences and values garnered from historic lifeways and carried forward into contemporary expression? How might a better appreciation of the aesthetics of Native American dance movement and sound help breath life into the interpretation of Native American arts?

Native American Art III – What’s Happening Native American Art III – What’s Happening Now in Native Art in the St. Louis Region: Now in Native Art in the St. Louis Region: Curation, Scholarship, and Collaborationi Curation, Scholarship, and Collaboration Repurposing and Appropriating: Anishinaabe Ceremonial Regalia in the SIUE Native American Art at the Missouri History Museum University Museum Collection Adriana Greci Green, Missouri History Museum Cory Willmott, Associate Professor, Department of Anthropology, Southern Illinois

University Edwardsville This presentation will showcase a selection of Native American objects from the In 1991, Milton K. and Doris Harrington of East St. Louis and Belleville, Illinois, donated collections of the Missouri History Museum in St. Louis. Particular attention will be given over 100,000 objects of art, ethnography, archaeology, history and natural history to the SI- to historical and ethnographic context, as well as to the artistic traditions, design elements UE Foundation. Among those objects, almost 4,000 were what the Harrington‘s called and technical mastery carried into the production of these important works of indigenous ―Indian Relics.‖ Although clearly not scholars, the couple amassed a significant collection art. of Native American heritage items, mainly from Reservation Era, c. 1870s to c.1930s. This paper focuses on three Anishinaabe artifacts in this collection to illustrate how the methods of technical art history can reveal meaning and value in artworks that have formerly been disregarded as ―contaminated‖ with Western influence, and ―degenerated‖ from a previous era of higher quality art. By showing the Anishinaabe beadwork artists‘ creative adaptations to increasing poverty and transforming materials sources, I argue that Anishinaabe Reserva- tion Era regalia embodies inspiration that remains strongly connected with tradition through engagement with the land and cosmology.

57 Native American Art III – What’s Happening International Currents and Global l Now in Native Art in the St. Louis Region: Impressionism I: Visual Conversationsi

Curation, Scholarship, and Collaboration With France i Native American Art at the Missouri History Museum Breaking the Ice: Monet‘s Les Glaçons and the 1889 Monet-Rodin retrospective at the Galerie Georges Petit Adriana Greci Green, Missouri History Museum Tyler Ostergaard, Ph.D. Candidate, University of Iowa

This presentation will showcase a selection of Native American objects from the Les Glaçons appears to be an innocuous landscape with Monet‘s supposedly typical collections of the Missouri History Museum in St. Louis. Particular attention will be given attention to light and color. Little suggests this painting was a turning point in the interna- to historical and ethnographic context, as well as to the artistic traditions, design elements tional acceptance of Impressionism. The painting was lauded in 1889 when shown at the and technical mastery carried into the production of these important works of indigenous Galerie Georges Petit‘s Monet-Rodin Retrospective, held in conjunction with Exposition art. Universelle. However, this was not the case when it had been first exhibited in 1880 when Monet infamously returned to the Salon. It was a debacle, the jury rejected it and it made an inauspicious debut in a small, hastily organized show in the offices of La Vie moderne. In 1882 Les Glaçons was exhibited a second time at the Seventh Impressionist Exhibition, again to mixed reviews.

Rejected once and exhibited three times in one decade, in widely divergent venues, analysis of the critical reaction reveals the shifting nationalist connotations of Impression- ism. In sharp contrast to the initial reception, in 1889 the critics focused exclusively on Monet‘s rejection from the Salon, now recast as a grave oversight. In so doing the critics repositioned Monet as a neglected master of the French landscape but also downplayed con- troversial elements of early Impressionism, recasting the painting of light and the countryside as dominant features of Impressionism. The Retrospective was hence more than a pas- sive response to the growing acceptance of Monet. Rather, the venue and exhibition history played active roles in the critical reappraisal of Monet, setting the stage for the international financial and critical successes of Monet, Impressionism, and French Modernism.

International Currents and Global l International Currents and Global l Impressionism I: Visual Conversationsi Impressionism I: Visual Conversations With France i With France Breaking the Ice: Monet‘s Les Glaçons and the 1889 Monet-Rodin retrospective at the Degas in New Orleans: Cotton and Global Capitalism Galerie Georges Petit Marilyn R. Brown, Professor, University of Colorado Tyler Ostergaard, Ph.D. Candidate, University of Iowa

Visiting New Orleans in 1872-73, Edgar Degas negotiated the intersections of Les Glaçons appears to be an innocuous landscape with Monet‘s supposedly typical French and American cultures: Creole domesticity on Esplanade Avenue on the one hand, attention to light and color. Little suggests this painting was a turning point in the interna- and the privatized public space of his uncle‘s cotton factoring business on Carondelet Street tional acceptance of Impressionism. The painting was lauded in 1889 when shown at the in the American sector on the other; and, more than in his previous experience, he encoun- Galerie Georges Petit‘s Monet-Rodin Retrospective, held in conjunction with Exposition tered racial difference. I re-examine his painting A Cotton Office in New Orleans (1873, Universelle. However, this was not the case when it had been first exhibited in 1880 when Pau, Musée des Beaux-Arts, exhibited in the second Impressionist show in 1876), in light of Monet infamously returned to the Salon. It was a debacle, the jury rejected it and it made an global capitalism and specifically through the lens of historian Walter Johnson‘s new book, inauspicious debut in a small, hastily organized show in the offices of La Vie moderne. In River of Dark Dreams: Slavery and Empire in the Cotton Kingdom. I situate Degas‘s pic- 1882 Les Glaçons was exhibited a second time at the Seventh Impressionist Exhibition, ture in relation to his family‘s global investments (including his father‘s bank in Europe) in again to mixed reviews. the trade in cotton, which, even after emancipation, was built on a transatlantic equation be- Rejected once and exhibited three times in one decade, in widely divergent venues, tween slavery and capital. Absent black labor was indexed in the painting by the white analysis of the critical reaction reveals the shifting nationalist connotations of Impression- commodity for sale, and implied in the physical proximity of the office to slave depots, ism. In sharp contrast to the initial reception, in 1889 the critics focused exclusively on yards, and pens closed only a decade previously. The cotton factors‘ account books reduced Monet‘s rejection from the Salon, now recast as a grave oversight. In so doing the critics to abstract ciphers the social relations through which the grueling labor of human beings in repositioned Monet as a neglected master of the French landscape but also downplayed con- cotton fields became transformed into commodity fetish, through which the marketability of troversial elements of early Impressionism, recasting the painting of light and the country- finely graded cotton obscured its oppressive production. Degas‘ failed plan to market his side as dominant features of Impressionism. The Retrospective was hence more than a pas- picture to a British textile manufacturer involved his art, however unsuccessfully, in this sive response to the growing acceptance of Monet. Rather, the venue and exhibition history global capitalist exchange. played active roles in the critical reappraisal of Monet, setting the stage for the international financial and critical successes of Monet, Impressionism, and French Modernism.

59 60 International Currents and Global l International Currents and Global l Impressionism I: Visual Conversations Impressionism I: Visual Conversationsi

With France With Francei Degas in New Orleans: Cotton and Global Capitalism (French) Impressionism and (Foreign) Sculpture: the Case of Medardo Rosso Marilyn R. Brown, Professor, University of Colorado Sharon Hecker, Independent Scholar, Italy

Visiting New Orleans in 1872-73, Edgar Degas negotiated the intersections of By dubbing Medardo Rosso ―l‘impressionniste de la sculpture,‖ critics attached an French and American cultures: Creole domesticity on Esplanade Avenue on the one hand, Italian sculptor to a French painterly movement. But how does one assess foreign influences and the privatized public space of his uncle‘s cotton factoring business on Carondelet Street on Italian ottocento art as well as on French Impressionism? The challenge is artistic, cultur- in the American sector on the other; and, more than in his previous experience, he encoun- al and political. Rosso began and ended his career in Italy, but spent thirty intermediary tered racial difference. I re-examine his painting A Cotton Office in New Orleans (1873, years in Paris; moreover, he used the word ―impression‖ in his works‘ titles and theoretical Pau, Musée des Beaux-Arts, exhibited in the second Impressionist show in 1876), in light of declarations while still a young sculptor in Milan. Whereas Rosso‘s Italian contemporaries global capitalism and specifically through the lens of historian Walter Johnson‘s new book, rejected his art, claiming it to be outside their ―national‖ tradition, in France, he waged an River of Dark Dreams: Slavery and Empire in the Cotton Kingdom. I situate Degas‘s pic- impossible battle with Auguste Rodin for the title of founder of ―impressionist sculpture.‖ ture in relation to his family‘s global investments (including his father‘s bank in Europe) in This paper argues that through Rosso‘s ―outsider‖ status in both countries, he culti- the trade in cotton, which, even after emancipation, was built on a transatlantic equation be- vated ―transnational‖ and varied meanings for the term ―impression,‖ strategically rendering tween slavery and capital. Absent black labor was indexed in the painting by the white it malleable, polysemous and only partially inflected with nationalist implications. Thus, commodity for sale, and implied in the physical proximity of the office to slave depots, Margaret Scolari Barr‘s 1963 monograph could position Rosso unproblematically alongside yards, and pens closed only a decade previously. The cotton factors‘ account books reduced French Impressionist painting. Italian scholars, however, would respond by highlighting to abstract ciphers the social relations through which the grueling labor of human beings in discrepancies, arguing for Rosso‘s autonomy from France and his roots in Milanese Scap- cotton fields became transformed into commodity fetish, through which the marketability of igliatura ideas. Italian cultural mediator Ardengo Soffici had taken another approach, rein- finely graded cotton obscured its oppressive production. Degas‘ failed plan to market his troducing Rosso to Italy in 1910 as separate-but-equal through ―La Prima esposizione ital- picture to a British textile manufacturer involved his art, however unsuccessfully, in this iana dell‘impressionismo francese e delle scolture di Medardo Rosso.‖ Ultimately, however, global capitalist exchange. Rosso‘s own stance aligned with that of supra-nationally-minded critics, from Edmond Cla- ris, who highlighted the originality of Rosso‘s sculptural ideas in his 1902 De l’Impres- sionnisme en Sculpture to Julius Meier-Graefe in his seminal 1904 Entwicklungsgeschichte der mondernen Kunst.

International Currents and Global l Contemporary Art and Global Politics Impressionism I: Visual Conversationsi With Francei (French) Impressionism and (Foreign) Sculpture: the Case of Medardo Rosso Protest, Politics and Aesthetics in Allora and Calzadilla‘s Vieques Interventions Sharon Hecker, Independent Scholar, Italy Ila Nicole Sheren, Washington University in St. Louis

From 2003 through 2005, artists Jennifer Allora and Guillermo Calzadilla By dubbing Medardo Rosso ―l‘impressionniste de la sculpture,‖ critics attached an undertook a sustained engagement with protesters on the Puerto Rican island of Vieques. Italian sculptor to a French painterly movement. But how does one assess foreign influences Their pieces, performances later presented as video installations, included Land Mark on Italian ottocento art as well as on French Impressionism? The challenge is artistic, cultur- (2003), Returning a Sound (2004) and Under Discussion (2005). These al and political. Rosso began and ended his career in Italy, but spent thirty intermediary three works engaged with the mechanisms and, ultimately, the outcome of protests against years in Paris; moreover, he used the word ―impression‖ in his works‘ titles and theoretical the U.S. naval base and bombing range located on both ends of the island. declarations while still a young sculptor in Milan. Whereas Rosso‘s Italian contemporaries Allora and Calzadilla‘s work is most frequently discussed in terms of the neocolonial situa- rejected his art, claiming it to be outside their ―national‖ tradition, in France, he waged an tion surrounding the island of Vieques and the U.S. naval base it housed. Such an analysis, impossible battle with Auguste Rodin for the title of founder of ―impressionist sculpture.‖ however, can be limiting. While the Vieques pieces present a substantial engagement with This paper argues that through Rosso‘s ―outsider‖ status in both countries, he culti- the neocolonial dynamics of the U.S. and Puerto Rico, the three works are, on a more uni- vated ―transnational‖ and varied meanings for the term ―impression,‖ strategically rendering versal level, explorations of the aesthetics of protest. it malleable, polysemous and only partially inflected with nationalist implications. Thus, It is telling that, although 2011 was the ―Year of the Protestor‖ according to TIME Margaret Scolari Barr‘s 1963 monograph could position Rosso unproblematically alongside Magazine (commemorated by the appropriate Shepard Fairey poster), Allora French Impressionist painting. Italian scholars, however, would respond by highlighting and Calzadilla were grappling with the aestheticization of protest years earlier. I discrepancies, arguing for Rosso‘s autonomy from France and his roots in Milanese Scap- propose an understanding of the three Vieques interventions within the broader framework igliatura ideas. Italian cultural mediator Ardengo Soffici had taken another approach, rein- of art, activism & aesthetics. Recent scholarship by Grant Kester and Tom troducing Rosso to Italy in 1910 as separate-but-equal through ―La Prima esposizione ital- Finklepearl, among others, has focused on the the methods by which activist artists build iana dell‘impressionismo francese e delle scolture di Medardo Rosso.‖ Ultimately, however, connections and respond to communities already in place. Over the last decade, critiques by Rosso‘s own stance aligned with that of supra-nationally-minded critics, from Edmond Cla- Nicolas Bourriaud and Claire Bishop have grappled with the aesthetics of political and so- ris, who highlighted the originality of Rosso‘s sculptural ideas in his 1902 De l’Impres- cial relations. Allora and Calzadilla‘s Vieques works meld the social, aesthetic and political sionnisme en Sculpture to Julius Meier-Graefe in his seminal 1904 Entwicklungsgeschichte aspects of protest into a coherent whole, and should be consid-ered in terms of this larger der mondernen Kunst. discourse.

61 62 Contemporary Art and Global Politics Contemporary Art and Global Politics

Protest, Politics and Aesthetics in Allora and Calzadilla‘s Vieques Interventions The Art of Big Hope: Reviving Leftist Activism in the early 21st Century Ila Nicole Sheren, Washington University in St. Louis Hungry Izabel Galliera, Ph.D., Visiting Lecturer, History of Art and Architecture, University of From 2003 through 2005, artists Jennifer Allora and Guillermo Calzadilla Pittsburgh undertook a sustained engagement with protesters on the Puerto Rican island of Vieques. Their pieces, performances later presented as video installations, included Land Mark The artist collective Big Hope‘s artworks were among the first to open discussion (2003), Returning a Sound (2004) and Under Discussion (2005). These on the relationship between the social role of art and political activism in an art institutional three works engaged with the mechanisms and, ultimately, the outcome of protests against setting in post-communist Hungary. With artworks, such as Klimaszerviz (2001, the U.S. naval base and bombing range located on both ends of the island. Kunsthalle, Budapest), a collaborative and interactive project comprising of a wall installa- Allora and Calzadilla‘s work is most frequently discussed in terms of the neocolonial situation with daily posting of newspapers, articles and flyers, and Disobbedienti (2002, Liget tion surrounding the island of Vieques and the U.S. naval base it housed. Such an analysis, Art Gallery, Budapest), a gallery recreation of an activist club fitted with stenciled wall however, can be limiting. While the Vieques pieces present a substantial engagement with drawings, posters, photographs and pamphlets, the artists addressed and questioned the the neocolonial dynamics of the U.S. and Puerto Rico, the three works are, on a more uni- scope of activism existing locally at the time. This is significant within a multi-layered and versal level, explorations of the aesthetics of protest. tension-filled post-communist transition period, when socialism has been equated with au- thoritarianism and democracy with neoliberalism as both political ideology and economic It is telling that, although 2011 was the ―Year of the Protestor‖ according to TIME order. The society‘s memory and experience of the recent communist past aided in the ac- Magazine (commemorated by the appropriate Shepard Fairey poster), Allora ceptance of the market-oriented right while discrediting the left en masse. and Calzadilla were grappling with the aestheticization of protest years earlier. I propose an understanding of the three Vieques interventions within the broader framework This paper will show how Big Hope made use of museum and gallery spaces to of art, activism & aesthetics. Recent scholarship by Grant Kester and Tom provoke public discussions on leftist thinking by combining the medium of installation art Finklepearl, among others, has focused on the the methods by which activist artists build with print news media as well as tactics of participation and dialogic exchanges among lo- connections and respond to communities already in place. Over the last decade, critiques by cal activists, contemporary artists and the audience. The artists aimed to both introduce and Nicolas Bourriaud and Claire Bishop have grappled with the aesthetics of political and so- revive the meaning of the left with its legacy of 1960s and 1970s social activism, such as cial relations. Allora and Calzadilla‘s Vieques works meld the social, aesthetic and political feminism, the cultural the cultural movements against consumer culture, environmentalism aspects of protest into a coherent whole, and should be consid-ered in terms of this larger and student movements. discourse.

Contemporary Art and Global Politics Contemporary Art and Global Politics

The Art of Big Hope: Reviving Leftist Activism in the early 21st Century Transference of Language, Labor, and Art Criticism in the Era of Globalization: Hong Hungry -Sok Gim‘s Conceptual Art Izabel Galliera, Ph.D., Visiting Lecturer, History of Art and Architecture, University of Eunyoung Park Pittsburgh

This paper will focus on the works of Hong-sok Gim (1964-), who investigates the The artist collective Big Hope‘s artworks were among the first to open discussion transnational exchange of language, labor, and art criticism under globalization. To date, the on the relationship between the social role of art and political activism in an art institutional English-language scholarship on Korean contemporary art is largely devoted to Korean- setting in post-communist Hungary. With artworks, such as Klimaszerviz (2001, American artists who explore racial and cultural identity after the expansion of multicultural- Kunsthalle, Budapest), a collaborative and interactive project comprising of a wall installa- ism and identity politics in the late 1980s. Through the research of Gim‘s works, however, tion with daily posting of newspapers, articles and flyers, and Disobbedienti (2002, Liget this paper will focus on an artistic tendency to critically investigate social and political reali- Art Gallery, Budapest), a gallery recreation of an activist club fitted with stenciled wall ty under the globalized capital system beyond the mere celebration of diversity in art. drawings, posters, photographs and pamphlets, the artists addressed and questioned the scope of activism existing locally at the time. This is significant within a multi-layered and Based on his transnational experience, Gim has explored the issue of translation tension-filled post-communist transition period, when socialism has been equated with au- though his installation, video, and performance. Gim invites marginalized social groups, thoritarianism and democracy with neoliberalism as both political ideology and economic such as migrant workers, to participate in his performance, translates texts and speaks in sev- order. The society‘s memory and experience of the recent communist past aided in the ac- eral languages or through several narrators in his installation and video works, and creates a ceptance of the market-oriented right while discrediting the left en masse. fictional narrative by reconstructing historical events. This kind of work demonstrates Gim‘s investigation of social conditions in Korea under the development of civil society and the This paper will show how Big Hope made use of museum and gallery spaces to expansion of the logic of globalization and neoliberalism. provoke public discussions on leftist thinking by combining the medium of installation art with print news media as well as tactics of participation and dialogic exchanges among lo- This paper will also explore Gim‘s works as the development of contemporary con- cal activists, contemporary artists and the audience. The artists aimed to both introduce and ceptual art in Korea. Although Gim has worked in a diversity of mediums, he continually revive the meaning of the left with its legacy of 1960s and 1970s social activism, such as employs text and language as an artistic material in his works and adopts the position of a feminism, the cultural the cultural movements against consumer culture, environmentalism critic by writing art criticism. I expect that this kind of research will not only facilitate fur- and student movements. ther understanding of the specific characteristics of local art in relation to global currents, but will also contribute to the possibility of relating the art world to social and political circumstances.

63 64 Contemporary Art and Global Politics American Women in Arta

Transference of Language, Labor, and Art Criticism in the Era of Globalization: Hong The American Painter Elizabeth Sparhawk-Jones (1885-1968): Depicting Female -Sok Gim‘s Conceptual Art Gender and the Social Interactions Between Working-class and Upper-class Women in Eunyoung Park Philadelphia, 1905-1913 Anna Shaver, Assistant to the Director, Contemporary Art Museum, St. Louis

This paper will focus on the works of Hong-sok Gim (1964-), who investigates the The influence of an artist‘s personal biography on her artistic production has been transnational exchange of language, labor, and art criticism under globalization. To date, the widely discussed. Yet, to consider personal artistic production through a feminist, Marxist English-language scholarship on Korean contemporary art is largely devoted to Korean- theoretical framework offers a fresh method of analysis. In this paper, I argue that the per- American artists who explore racial and cultural identity after the expansion of multicultural- sonal biography of Elizabeth Sparhawk-Jones (1885-1968) influenced her informed decep- ism and identity politics in the late 1980s. Through the research of Gim‘s works, however, tions of social order in her 1905-1913 American Impressionist paintings. Specifically, I con- this paper will focus on an artistic tendency to critically investigate social and political reali- sider the artist‘s representations of female gender construction and class interaction as her ty under the globalized capital system beyond the mere celebration of diversity in art. depictions evolved in accordance with her own financial circumstances. Marxism informs Based on his transnational experience, Gim has explored the issue of translation the analyses of the social class interactions depicted in the artist‘s paintings, the artist‘s own though his installation, video, and performance. Gim invites marginalized social groups, social status, and the influence her social status had on her understanding of class. In re- such as migrant workers, to participate in his performance, translates texts and speaks in sev- gards to female gender construction, I argue that the different elements and renderings of eral languages or through several narrators in his installation and video works, and creates a femininity are informed by Sparhawk-Jones‘s economic status. Additionally, I consider the fictional narrative by reconstructing historical events. This kind of work demonstrates Gim‘s social interplay between upperclass and working-class women in Sparhawk-Jones‘ paint- investigation of social conditions in Korea under the development of civil society and the ings, both in private and public spaces. I argue that these interactions inform art historiog- expansion of the logic of globalization and neoliberalism. raphy about American women, their hobbies, and their employment in urban Philadelphia in This paper will also explore Gim‘s works as the development of contemporary con- the early twentieth century. In my paper, I use the elements of class and gender to analyse ceptual art in Korea. Although Gim has worked in a diversity of mediums, he continually Sparhawk-Jones‘s early paintings and to argue for her inclusion in art historiography. employs text and language as an artistic material in his works and adopts the position of a critic by writing art criticism. I expect that this kind of research will not only facilitate further understanding of the specific characteristics of local art in relation to global currents, but will also contribute to the possibility of relating the art world to social and political circumstances.

American Women in Arta American Women in Art

The American Painter Elizabeth Sparhawk-Jones (1885-1968): Depicting Female Struggle Against Negation: Carrie Mae Weems‘ Use of Symbolism to Establish Author- Gender and the Social Interactions Between Working-class and Upper-class Women in ity as Artist and Subject in Not Manet’s Type (1997) Philadelphia, 1905-1913 Tracy Flagg, M. A. Candidate, University of Cincinnati Anna Shaver, Assistant to the Director, Contemporary Art Museum, St. Louis

Photographer, videographer, and activist Carrie Mae Weems (b. 1953) has for over The influence of an artist‘s personal biography on her artistic production has been three decades compiled a vast body of work centered on various aspects of the human condi- widely discussed. Yet, to consider personal artistic production through a feminist, Marxist tion. Not Manet’s Type (1997), a series of pigment ink print photographs, addresses concerns theoretical framework offers a fresh method of analysis. In this paper, I argue that the per- regarding the depiction of women in the Western canon of art as well as the exclusion of sonal biography of Elizabeth Sparhawk-Jones (1885-1968) influenced her informed decep- women—and more particularly of black women—from the list of canonical artists. A five- tions of social order in her 1905-1913 American Impressionist paintings. Specifically, I con- part self-portrait, Not Manet’s Type reflects upon various canonical artist‘ treatment of the sider the artist‘s representations of female gender construction and class interaction as her female form and conveys Weem‘s dissatisfaction with the manners in which black women depictions evolved in accordance with her own financial circumstances. Marxism informs artists and subjects have been included—or altogether excluded—in depictions of beauty the analyses of the social class interactions depicted in the artist‘s paintings, the artist‘s own throughout history. Although upon first glance the imagery of Not Manet’s Type is seeming- social status, and the influence her social status had on her understanding of class. In re- ly straightforward, the series is made complicated by Weem‘s assignment of herself as not gards to female gender construction, I argue that the different elements and renderings of only artist but also referent, viewer, and object. Moreover, the text that accompanies her femininity are informed by Sparhawk-Jones‘s economic status. Additionally, I consider the photographs gives additional information regarding the sophistication and complexity with social interplay between upperclass and working-class women in Sparhawk-Jones‘ paint- which Weems approaches her art making. I will argue that by casting herself as both artist ings, both in private and public spaces. I argue that these interactions inform art historiog- and ―muse‖ Weems attempts to overcome a struggle to challenge archetypes of feminine raphy about American women, their hobbies, and their employment in urban Philadelphia in beauty as dictated by white, male artists as well as the exclusion of women—especially the early twentieth century. In my paper, I use the elements of class and gender to analyse black women—from the Western art canon. By establishing a pictorial ―code,‖ Weems illus- Sparhawk-Jones‘s early paintings and to argue for her inclusion in art historiography. trates the internal and external challenges against which she struggles in her effort to break free from society‘s negation of her as a woman and an artist.

65 66 American Women in Art American Women in Arti

Struggle Against Negation: Carrie Mae Weems‘ Use of Symbolism to Establish Author- Ever Present, Never Presented: Quilting, Feminism, and Suzanne Lacy ity as Artist and Subject in Not Manet’s Type (1997) Jacqueline Witkowski, M.A. Candidate, University of British Columbia Tracy Flagg, M. A. Candidate, University of Cincinnati Los Angeles-based artist Suzanne Lacy (b. 1945) is known internationally for her Photographer, videographer, and activist Carrie Mae Weems (b. 1953) has for over political and participatory performances that confront audiences with issues such as rape, three decades compiled a vast body of work centered on various aspects of the human condi- aging, poverty and racism. With a focus on participation and egalitarianism in recent years tion. Not Manet’s Type (1997), a series of pigment ink print photographs, addresses concerns by artists, scholars foreground Lacy‘s media tactics, open dialogue, and social activism. regarding the depiction of women in the Western canon of art as well as the exclusion of While Lacy‘s work clearly demonstrates a pedagogical and political import, this paper ad- women—and more particularly of black women—from the list of canonical artists. A five- dresses the seemingly peripheral medium of quilting, as Lacy deploys it in the projects of part self-portrait, Not Manet’s Type reflects upon various canonical artist‘ treatment of the Evalina and I: Crimes, Quilts, and Art (1975-1977) and The Crystal Quilt (1987). The quilt, female form and conveys Weem‘s dissatisfaction with the manners in which black women here, is less a physical medium than a conceptual armature—a method for negotiating or artists and subjects have been included—or altogether excluded—in depictions of beauty thinking through social practice. Having worked as a student under Allan Kaprow, in addi- throughout history. Although upon first glance the imagery of Not Manet’s Type is seeming- tion to participating with the feminist community at CalArts, the significance of quilting ly straightforward, the series is made complicated by Weem‘s assignment of herself as not speaks to her continued oscillation between each strategy. I argue that her ability to move only artist but also referent, viewer, and object. Moreover, the text that accompanies her within these two spheres via the textile furthers the importance of quilting as a method of photographs gives additional information regarding the sophistication and complexity with performance—horizontal in nature—as well as alludes to the manner in which feminism which Weems approaches her art making. I will argue that by casting herself as both artist sought to eliminate the vertical topdown approach of patriarchal infrastructures. As quilting and ―muse‖ Weems attempts to overcome a struggle to challenge archetypes of feminine has long been subsumed with a feminist or institutional discourse, the significance of its beauty as dictated by white, male artists as well as the exclusion of women—especially formal qualities have been relegated to abstracted or merely aestheticized categories. I posit black women—from the Western art canon. By establishing a pictorial ―code,‖ Weems illus- that within Lacy‘s projects, the quilt abets the ability to be both connected to and distanced trates the internal and external challenges against which she struggles in her effort to break from each discourse; and thus, she removes the medium from a mythological space and re- free from society‘s negation of her as a woman and an artist. stores its tangible and historical pedagogical and political functions.

American Women in Arti African Diaspora

Ever Present, Never Presented: Quilting, Feminism, and Suzanne Lacy Growing a Diaspora in Haiti: Transnational Artistic Exchanges between Haiti and the United States, 1940s-1950s Jacqueline Witkowski, M.A. Candidate, University of British Columbia Lindsay J. Twa, Ph.D., Associate Professor, Augustana College

Los Angeles-based artist Suzanne Lacy (b. 1945) is known internationally for her The story of the discovery of Haitian ―popular‖ art, its ―renaissance,‖ and its sudden political and participatory performances that confront audiences with issues such as rape, ascendancy in the global art market in the 1940s has been well told, if not necessarily well aging, poverty and racism. With a focus on participation and egalitarianism in recent years analyzed. Regardless of its myth of origin, Port-au-Prince‘s Centre d‘Art quickly became a crossroads of diasporic dialogue and transnational exchange between artists in Haiti and the by artists, scholars foreground Lacy‘s media tactics, open dialogue, and social activism. United States. While the centrality of the Centre d‘Art for supporting and growing the inter- While Lacy‘s work clearly demonstrates a pedagogical and political import, this paper ad- national interest in Haitian art has been well-established, the productive interactions between American and Haitian artists has received limited examination. The goal of this paper is to dresses the seemingly peripheral medium of quilting, as Lacy deploys it in the projects of analyze the governmental and institutional mechanisms that made the years of the 1940s and Evalina and I: Crimes, Quilts, and Art (1975-1977) and The Crystal Quilt (1987). The quilt, 1950s such a critical period in building transnational dialogues between Haitian and Ameri- can artists and scholars. here, is less a physical medium than a conceptual armature—a method for negotiating or An incredibly large number of American (and especially African-American) artists thinking through social practice. Having worked as a student under Allan Kaprow, in addi- arrived in Haiti during the 1940s and 1950s as either guests of the Haitian government, the tion to participating with the feminist community at CalArts, the significance of quilting U.S. State Department, the U.S. Office of Education, or were funded through various fellowship and grant organizations (the Julius Rosenwald Fund, the Rockefeller Foundation, the speaks to her continued oscillation between each strategy. I argue that her ability to move Guggenheim Foundation, the Whitney Fellowship program, Carnegie Grant-in-Aid awards, within these two spheres via the textile furthers the importance of quilting as a method of etc.). American Artists such as Lois Mailou Jones, Jason Seley, Richard Dempsey, Claude Clark, and James A. Porter found their artwork enriched and their lives expanded through performance—horizontal in nature—as well as alludes to the manner in which feminism their experiences in Haiti. The confluences and contingencies that made it possible for them sought to eliminate the vertical topdown approach of patriarchal infrastructures. As quilting to journey to Haiti and how it shaped their artwork and ideas about Haiti and their roles as transnational artistic ambassadors is a history yet to be told. Likewise, many Haitian artists, has long been subsumed with a feminist or institutional discourse, the significance of its such as dancer Jean-Léon Destiné and visual artists Maurice Borno (an assistant director at formal qualities have been relegated to abstracted or merely aestheticized categories. I posit the Centre d‘Art), Luce Turnier, and Jean Chenot received Rockefeller Foundation grants for foreign study. Their experiences abroad allowed them to operate with a transnational and that within Lacy‘s projects, the quilt abets the ability to be both connected to and distanced diasporic lens even as they further served as representatives of Haitian art to a global art from each discourse; and thus, she removes the medium from a mythological space and re- market. stores its tangible and historical pedagogical and political functions. By chronicling the large number of artists who made cultural exchange trips between Haiti and the United States, and through an analysis of their fellowship applications and letters of sponsorship, my goal is to build a historiographical account of what made these diasporic dialogues possible in the mid-twentieth century, and how did institutional mechanisms (that is, who was chosen for prestigious awards and how their artistic careers developed subsequently) shape and control the nature of those dialogues.

67 68 African Diaspora African Diaspora

Growing a Diaspora in Haiti: Transnational Artistic Exchanges between Haiti and the The Operation and Representation of Light in Cisse's Yeelen (1987) United States, 1940s-1950s Delinda Collier, Ph.D., Assistant Professor, School of the Art Institute of Chicago Lindsay J. Twa, Ph.D., Associate Professor, Augustana College

This paper will discuss the metaphors and literal elements of light in Souleymane Cissé‘s The story of the discovery of Haitian ―popular‖ art, its ―renaissance,‖ and its sudden film Yeelen [Brightness] (1987). Cissés tale has often been told as a metaphor of contempo- ascendancy in the global art market in the 1940s has been well told, if not necessarily well analyzed. Regardless of its myth of origin, Port-au-Prince‘s Centre d‘Art quickly became a rary Malian politics veiled in a 13th century Komo tale, but I will argue that it goes beyond crossroads of diasporic dialogue and transnational exchange between artists in Haiti and the metaphor to understand the substance behind representation. Light, the irreduceable element United States. While the centrality of the Centre d‘Art for supporting and growing the international interest in Haitian art has been well-established, the productive interactions between of film, is also the substance of power in Yeelen, with practitioners who wield their power American and Haitian artists has received limited examination. The goal of this paper is to over light for both good and evil. At one point in the film, this opposing power explodes into analyze the governmental and institutional mechanisms that made the years of the 1940s and 1950s such a critical period in building transnational dialogues between Haitian and Ameri- a pillar of light that overtakes both characters. In that moment, all contour of representation can artists and scholars. is burned out of the image and we are left with the light of the projector on the screen— An incredibly large number of American (and especially African-American) artists representation ceases. Cissé kills the characters by the ―magic‖ of nyama (life force) at the arrived in Haiti during the 1940s and 1950s as either guests of the Haitian government, the U.S. State Department, the U.S. Office of Education, or were funded through various fellow- same moment that he reveals the ―magic‖ of the film apparatus, which is the operation and ship and grant organizations (the Julius Rosenwald Fund, the Rockefeller Foundation, the the substance of light. Guggenheim Foundation, the Whitney Fellowship program, Carnegie Grant-in-Aid awards, etc.). American Artists such as Lois Mailou Jones, Jason Seley, Richard Dempsey, Claude In Yeelen, the control of light manifests in the control of representation, indicated in Clark, and James A. Porter found their artwork enriched and their lives expanded through their experiences in Haiti. The confluences and contingencies that made it possible for them the opening moments of the film with an on-screen ―drawing‖ of two ideograms. This paper to journey to Haiti and how it shaped their artwork and ideas about Haiti and their roles as will argue first that ideographic representation is what unites the filmic medium and Komo transnational artistic ambassadors is a history yet to be told. Likewise, many Haitian artists, such as dancer Jean-Léon Destiné and visual artists Maurice Borno (an assistant director at blacksmith practices; Sergei Eisenstein famously compared filmic montage to Japanese ide- the Centre d‘Art), Luce Turnier, and Jean Chenot received Rockefeller Foundation grants for ograms. It will conclude by arguing that this desire for the static signifier counters the fear foreign study. Their experiences abroad allowed them to operate with a transnational and diasporic lens even as they further served as representatives of Haitian art to a global art of light as an operation that is fundamentally resistant to representation. market. By chronicling the large number of artists who made cultural exchange trips between Haiti and the United States, and through an analysis of their fellowship applications and letters of sponsorship, my goal is to build a historiographical account of what made these diasporic dialogues possible in the mid-twentieth century, and how did institutional mechanisms (that is, who was chosen for prestigious awards and how their artistic careers developed subsequently) shape and control the nature of those dialogues.

African Diaspora African Diaspora

The Operation and Representation of Light in Cisse's Yeelen (1987) Via Architecture: The Cuca Building in Luanda in the photographic work of Delio Jasse Delinda Collier, Ph.D., Assistant Professor, School of the Art Institute of Chicago Marta Jecu, Postdoctoral Fellow/Researcher at Universidade Lusofona, Cicant Institute

This paper will discuss the metaphors and literal elements of light in Souleymane Cissé‘s Our proposal is dedicated to the so called 'rationalist' architecture in Luanda Angola film Yeelen [Brightness] (1987). Cissés tale has often been told as a metaphor of contempo- (quoting the International Style and the Brazilian modernism) as it appears in the works of rary Malian politics veiled in a 13th century Komo tale, but I will argue that it goes beyond contemporary Angolan artists, especially that of the photographer Delio Jasse. In focus is the metaphor to understand the substance behind representation. Light, the irreduceable element CUCA apartment block in the center of Luanda, whose demolition caused protests from aca- of film, is also the substance of power in Yeelen, with practitioners who wield their power demics and inhabitants of the city. The building appeared constantly in Luanda's representa- over light for both good and evil. At one point in the film, this opposing power explodes into tions and its phantom presence in the collective memory is connected to issues of colonialism, a pillar of light that overtakes both characters. In that moment, all contour of representation urbanization and to the local ―late modernity‖ from the 1950s-1980s, controversially debated is burned out of the image and we are left with the light of the projector on the screen— in relation to national identity. representation ceases. Cissé kills the characters by the ―magic‖ of nyama (life force) at the Modernist urbanization measures in Luanda were projected during the colonial rule same moment that he reveals the ―magic‖ of the film apparatus, which is the operation and from Lisbon. In the 1940s the city was fragmented through separation of the local population the substance of light. from the European foreigners. Later projects, attempted a democratization of the urban space,

In Yeelen, the control of light manifests in the control of representation, indicated in by integrating the presence of lower class citizen into the urban fabric. The Angolan born the opening moments of the film with an on-screen ―drawing‖ of two ideograms. This paper architect Simões de Carvalho reintroduced irregular traditional structures and integrated sub- will argue first that ideographic representation is what unites the filmic medium and Komo urbs, while Vieira da Costa projected around 1950 the socially responsive market of Kinaxixi, blacksmith practices; Sergei Eisenstein famously compared filmic montage to Japanese ide- recently crashed, abandoned and demolished short time before the CUCA. ograms. It will conclude by arguing that this desire for the static signifier counters the fear In the photographic work of Delio Jasse the fall of CUCA is presented as a conse- of light as an operation that is fundamentally resistant to representation. quence of the decay brought by a row of wars: the Angolan War of Independence, followed by almost 20 years of civil war, in which very little was built. Without depicting the population living in it, Delio Jasse documents its life from the transformation and decay of this architectural carcass.

69 70 African Diaspora International Currents and Globali Impressionism II: Visual Conversationsi

with Francei Via Architecture: The Cuca Building in Luanda in the photographic work of Delio Jasse Caribbean Light: Francisco Oller‘s Global Impressionism

Marta Jecu, Postdoctoral Fellow/Researcher at Universidade Lusofona, Cicant Institute Emily Sessions, Ph.D. Candidate, Yale University

Our proposal is dedicated to the so called 'rationalist' architecture in Luanda Angola Even in as art historians become increasingly aware of the interconnected, transna- (quoting the International Style and the Brazilian modernism) as it appears in the works of tional nature of many art movements, public discourse around Impressionism continues to present it as springing from French soil and led entirely by native French painters. This contemporary Angolan artists, especially that of the photographer Delio Jasse. In focus is the uniquely Gallic origin myth about Impressionism persists despite admirable attempts to in- CUCA apartment block in the center of Luanda, whose demolition caused protests from aca- clude artists from around the globe in the conversation about the dissemination of the style. demics and inhabitants of the city. The building appeared constantly in Luanda's representa- What is generally overlooked is the Caribbean identity of several of the key artists who par- tions and its phantom presence in the collective memory is connected to issues of colonialism, ticipated in the earliest societies and exhibitions that later became known under the umbrella urbanization and to the local ―late modernity‖ from the 1950s-1980s, controversially debated term of Impressionism. Impressionism, then, should be considered not just as a French style that was later carried abroad, but as an international style, perhaps even an Antillian style, in relation to national identity. from its very inception. Modernist urbanization measures in Luanda were projected during the colonial rule Camille Pissarro, who acted as a founding member of the Anonymous Society of from Lisbon. In the 1940s the city was fragmented through separation of the local population Painters, Sculptors, Printmakers, etc in 1873, was born on the then-Danish Caribbean island from the European foreigners. Later projects, attempted a democratization of the urban space, of St. Thomas. Throughout his life, Pissarro presented his own artistic biography as begin- by integrating the presence of lower class citizen into the urban fabric. The Angolan born ning when Danish artist Fritz Melbye discovered him sketching the island‘s docks. An even architect Simões de Carvalho reintroduced irregular traditional structures and integrated sub- more informative figure, however, is the Puerto Rican painter Francisco Oller. Oller studied urbs, while Vieira da Costa projected around 1950 the socially responsive market of Kinaxixi, with French and Spanish Realist painters before immersing himself in the circles of the Pa- risian avant-garde. During the many years that he remained in Paris, his closest friend was recently crashed, abandoned and demolished short time before the CUCA. always his fellow Caribbean Pissarro. Oller‘s experiments with applying the new painting In the photographic work of Delio Jasse the fall of CUCA is presented as a conse- approaches to the subject matter of his native Puerto Rico may have helped Impressionist quence of the decay brought by a row of wars: the Angolan War of Independence, followed artists realize the full socio-political possibilities of their new painting approach. These ex- by almost 20 years of civil war, in which very little was built. Without depicting the periments culminated in Oller‘s great work The Wake, and continued upon his return to his population living in it, Delio Jasse documents its life from the transformation and decay of native island. this architectural carcass. Reading Impressionism through the lens of the transnational, but always Puerto Ri- can, story of Francisco Oller shows how closely the movement‘s origins were tied to the cultural connections that were uniquely possible in the Paris of the 1870s. Oller‘s story also shows how Impressionism spread through the trans-oceanic centers of modern capitalism by the movements of artists and objects.

International Currents and Globali International Currents and Global Impressionism II: Visual Conversationsi Impressionism II: Visual Conversations with Francei with France Caribbean Light: Francisco Oller‘s Global Impressionism Canadian Impressionism and National Identity: Impressions of the Dominion at Home and Abroad Emily Sessions, Ph.D. Candidate, Yale University Julia Stimac, Ph.D. Candidate, University of Washington

Even in as art historians become increasingly aware of the interconnected, transnational nature of many art movements, public discourse around Impressionism continues to The phenomenon of Canadian Impressionism emerged through the travels of Cana- present it as springing from French soil and led entirely by native French painters. This dian artists to France in the 1880s and 1890s. While unable to find success at home due to a uniquely Gallic origin myth about Impressionism persists despite admirable attempts to include artists from around the globe in the conversation about the dissemination of the style. strong bias among Canadian collectors for European works, many of these expatriates and What is generally overlooked is the Caribbean identity of several of the key artists who par- travellers would receive international recognition, especially in France and England, where ticipated in the earliest societies and exhibitions that later became known under the umbrella their images of a snow-covered Canadian Landscape became particularly prized subject mat- term of Impressionism. Impressionism, then, should be considered not just as a French style ter. This ―Canadian‖ art was, then, thriving even before the turn of the century, but only on that was later carried abroad, but as an international style, perhaps even an Antillian style, foreign soil. Indeed, even by 1913, Eric Brown, then Director of the National Art Gallery in from its very inception. Ottawa, lamented the Dominion‘s plethora of available talent but still undefined ―national‖ Camille Pissarro, who acted as a founding member of the Anonymous Society of character of ―Canadian art.‖1 It would not be until 1920 that Brown‘s wish for a ―great na- Painters, Sculptors, Printmakers, etc in 1873, was born on the then-Danish Caribbean island of St. Thomas. Throughout his life, Pissarro presented his own artistic biography as begin- tional achievement‖ would finally be fulfilled with the advent of the Toronto-based Group ning when Danish artist Fritz Melbye discovered him sketching the island‘s docks. An even of Seven, whose celebrated work championed patriotic identification with a timeless vision more informative figure, however, is the Puerto Rican painter Francisco Oller. Oller studied of an increasingly encroached upon land.2 By drawing from recent work on Scottish-born with French and Spanish Realist painters before immersing himself in the circles of the Pa- William Brymner, arguably the first to bring Impressionism to Canada and a key player in risian avant-garde. During the many years that he remained in Paris, his closest friend was solidifying Montreal as the art capital of Canada, this paper argues that Canadian Impres- always his fellow Caribbean Pissarro. Oller‘s experiments with applying the new painting approaches to the subject matter of his native Puerto Rico may have helped Impressionist sionism was critical to artistic negotiations of national identity, placing particular attention artists realize the full socio-political possibilities of their new painting approach. These ex- on the dynamic parallels between the increasingly Francophile climate of the European art periments culminated in Oller‘s great work The Wake, and continued upon his return to his world and the English-French relations of Canada, then still a dominion under British sover- native island. eignty. Reading Impressionism through the lens of the transnational, but always Puerto Ri- can, story of Francisco Oller shows how closely the movement‘s origins were tied to the cultural connections that were uniquely possible in the Paris of the 1870s. Oller‘s story also shows how Impressionism spread through the trans-oceanic centers of modern capitalism by the movements of artists and objects.

71 72 International Currents and Global International Currents and Globali Impressionism II: Visual Conversations Impressionism II: Visual Conversationsi with France with Francei Canadian Impressionism and National Identity: Impressions of the Dominion at Home American and Australian Impressionism and Tropes of the ―New Nation‖ and Abroad Emily Burns, Assistant Professor, Auburn University Julia Stimac, Ph.D. Candidate, University of Washington This paper explores the appropriation of French Impressionist painting styles in the

United States and Australia at the end of the nineteenth and early twentieth centuries. While The phenomenon of Canadian Impressionism emerged through the travels of Cana- American and Australian artists were engaged in a cosmopolitan conversation with their dian artists to France in the 1880s and 1890s. While unable to find success at home due to a Parisian counterparts, their artistic commentaries and the critical reception to their work strong bias among Canadian collectors for European works, many of these expatriates and suggests that they adopted Impressionism in the service of cultural nationalism. While the travellers would receive international recognition, especially in France and England, where United States had long outlived the literal trope of the ―new nation,‖ it still engaged with their images of a snow-covered Canadian Landscape became particularly prized subject mat- that concept in its national mythologies, particularly on an international stage. Australia, ter. This ―Canadian‖ art was, then, thriving even before the turn of the century, but only on gaining its independence in 1901, was more literally a ―new nation.‖ This paper offers a foreign soil. Indeed, even by 1913, Eric Brown, then Director of the National Art Gallery in comparative study of American and Australian uses of Impressionism and their concomitant Ottawa, lamented the Dominion‘s plethora of available talent but still undefined ―national‖ focus on the idea of fresh vision as a national myth. Both implied that because of their ―new character of ―Canadian art.‖1 It would not be until 1920 that Brown‘s wish for a ―great na- nation‖ status, they were unencumbered by tradition. As a result, they could more keenly tional achievement‖ would finally be fulfilled with the advent of the Toronto-based Group observe the local landscape and more effectively paint naively, as some French Impression- of Seven, whose celebrated work championed patriotic identification with a timeless vision ists prescribed. I will consider how this nationalist discourse makes an impact on Impres- of an increasingly encroached upon land.2 By drawing from recent work on Scottish-born sionist paintings in both of these milieu. William Brymner, arguably the first to bring Impressionism to Canada and a key player in solidifying Montreal as the art capital of Canada, this paper argues that Canadian Impres- sionism was critical to artistic negotiations of national identity, placing particular attention on the dynamic parallels between the increasingly Francophile climate of the European art world and the English-French relations of Canada, then still a dominion under British sover- eignty.

International Currents and Globali Reimagining Femininity Impressionism II: Visual Conversationsi with Francei American and Australian Impressionism and Tropes of the ―New Nation‖ Lucian Freud's Big Nudes: Fat, Sex, and Death in the Sue Tilley Paintings Emily Burns, Assistant Professor, Auburn University Brittany Lockard, Visiting Assistant Professor, Wichita State University

This paper explores the appropriation of French Impressionist painting styles in the Between 1993 and 1996, Lucian Freud produced four paintings of a woman named United States and Australia at the end of the nineteenth and early twentieth centuries. While Sue Tilley. On May 13, 2008, one of these works, entitled Benefits Supervisor Sleeping, sold American and Australian artists were engaged in a cosmopolitan conversation with their for 33.6 million dollars, making Freud the most expensive living artist, a title he held until Parisian counterparts, their artistic commentaries and the critical reception to their work his death in 2011. In the painting, Tilley (dubbed ―Big Sue‖ by the press) naps on a dilapi- suggests that they adopted Impressionism in the service of cultural nationalism. While the dated old sofa, her face pressed into the arm cushion, her body canted uncomfortably for- United States had long outlived the literal trope of the ―new nation,‖ it still engaged with ward as though it could slide off at any moment. This work generated a lot of attention from that concept in its national mythologies, particularly on an international stage. Australia, authors both popular and scholarly, and despite their differing opinions about the meaning gaining its independence in 1901, was more literally a ―new nation.‖ This paper offers a and quality of the painting, all the authors agreed about at least one point: Sue Tilley is fat. comparative study of American and Australian uses of Impressionism and their concomitant focus on the idea of fresh vision as a national myth. Both implied that because of their ―new This paper argues that Tilley‘s fatness is crucial to interpreting Freud‘s paintings of nation‖ status, they were unencumbered by tradition. As a result, they could more keenly her, reading them through the lens of fat theory and Julia Kristeva‘s conception of abjection. observe the local landscape and more effectively paint naively, as some French Impression- At first glance, the abject quality, the awkwardness and vulnerability of Freud‘s nudes, ists prescribed. I will consider how this nationalist discourse makes an impact on Impres- seems to transcend the type of body portrayed (in essence, not privileging thin over fat or sionist paintings in both of these milieu. vice versa). I argue that despite this surface similarity, his works treat Sue Tilley‘s fat body differently from the thin body, by denying it the sexual charge with which he imbues his thin models. Moreover, Freud also associates Tilley‘s body with the objects around it in a way that both enforces its otherness and also restricts fat to its physicality by removing any hint of narrative or symbolic qualities. In essence, Freud‘s paintings of Tilley eroticize fatness itself, while linking her fat body firmly to the specter of death.

73 74 Reimagining Femininity Reimagining Femininityi

Lucian Freud's Big Nudes: Fat, Sex, and Death in the Sue Tilley Paintings Deconstruction and Reconstruction: Doris Salcedo‘s Furniture Sculptures and the Effects of Violence on Women in Colombia Brittany Lockard, Visiting Assistant Professor, Wichita State University Nadiah Fellah, Ph.D. student, The Graduate Center of the City University of New York

Between 1993 and 1996, Lucian Freud produced four paintings of a woman named Interpretations of Colombian artist Doris Salcedo‘s furniture sculptures can often be Sue Tilley. On May 13, 2008, one of these works, entitled Benefits Supervisor Sleeping, sold as opaque as the concrete that fills them. Analyses usually begin with the political violence for 33.6 million dollars, making Freud the most expensive living artist, a title he held until that dominates the artist‘s home country, but beyond the basic facts, the details of the conflict his death in 2011. In the painting, Tilley (dubbed ―Big Sue‖ by the press) naps on a dilapi- tend to remain superficial and obscure. Often authors position Salcedo‘s work as a kind of dated old sofa, her face pressed into the arm cushion, her body canted uncomfortably for- case study in furthering universalized theories of human rights and violence, a tendency that removes the work from its Latin American context, as well as the artist‘s identity as a wom- ward as though it could slide off at any moment. This work generated a lot of attention from an. In doing so, they lose the thread of what is most at stake in Salcedo‘s project— authors both popular and scholarly, and despite their differing opinions about the meaning particularly in its political and social elements—factors that are embedded within the very and quality of the painting, all the authors agreed about at least one point: Sue Tilley is fat. structure of her work. In this paper, I propose an interpretation of Salcedo‘s sculptures in terms of the cycle This paper argues that Tilley‘s fatness is crucial to interpreting Freud‘s paintings of of destruction and reconstruction, an analysis that takes into account the artist‘s subjects and methodologies, the work‘s intended display and reception, and most importantly, the Colom- her, reading them through the lens of fat theory and Julia Kristeva‘s conception of abjection. bian context from which they emerged. In doing so, I consider how Salcedo‘s use of domes- At first glance, the abject quality, the awkwardness and vulnerability of Freud‘s nudes, tic objects allegorize the site of the home, a place of refuge and shelter, as violated and de- seems to transcend the type of body portrayed (in essence, not privileging thin over fat or stroyed. This aspect draws parallels to the phenomenon of displacement that has resulted vice versa). I argue that despite this surface similarity, his works treat Sue Tilley‘s fat body from the political conflict, and has affected millions of Colombians over the past several dec- differently from the thin body, by denying it the sexual charge with which he imbues his thin ades. A contextualized reading also illustrates how this phenomenon uniquely affects the Co- lombian women Salcedo interviews, and the opportunities for renewal that they experience in models. Moreover, Freud also associates Tilley‘s body with the objects around it in a way the process. By calling upon these overlooked details, it becomes evident that Salcedo‘s that both enforces its otherness and also restricts fat to its physicality by removing any hint sculptures, in their materials and aesthetic qualities, conjure a domestic space that is not of narrative or symbolic qualities. In essence, Freud‘s paintings of Tilley eroticize fatness simply evocative of displaced women, but is a site where a profound and unusual reconstruc- itself, while linking her fat body firmly to the specter of death. tion of gender roles tends to take place among the victims she speaks with—thus accounting for the ‗reconstructive‘ elements in each sculpture. This revelation helps to give greater dimension to the complexity of Salcedo‘s practice, and illuminates factors that have been critically overlooked in the existing literature.

Reimagining Femininityi Reimagining Femininity

Deconstruction and Reconstruction: Doris Salcedo‘s Furniture Sculptures and the Role Reversal, Power and Sexuality at Play: Imaging the Woman Artist by Paula Rego Effects of Violence on Women in Colombia Soo Yun Kang, Professor of Art History, Chicago State University Nadiah Fellah, Ph.D. student, The Graduate Center of the City University of New York

In the majority of Rego‘s works, the protagonist is a woman who is usually depicted Interpretations of Colombian artist Doris Salcedo‘s furniture sculptures can often be bulky. Joseph’s Dream of 1990 is no exception. Conspicuous are Rego‘s typical massive as opaque as the concrete that fills them. Analyses usually begin with the political violence awkward figures, particularly the woman artist who is also rather uncomely in feature and that dominates the artist‘s home country, but beyond the basic facts, the details of the conflict tend to remain superficial and obscure. Often authors position Salcedo‘s work as a kind of masculine in posture, seemingly having full command over her male model. Clearly there is case study in furthering universalized theories of human rights and violence, a tendency that a role reversal of the traditional studio scene. removes the work from its Latin American context, as well as the artist‘s identity as a wom- This is definitely a postmodern feminist work that deconstructs not just studio an. In doing so, they lose the thread of what is most at stake in Salcedo‘s project— scenes, but also self-portraits of women artists of the past. Women artists depicted them- particularly in its political and social elements—factors that are embedded within the very selves feminine and attractive in etiquette-proper mannerism and posture, trying to empha- structure of her work. In this paper, I propose an interpretation of Salcedo‘s sculptures in terms of the cycle size their lady-like, upright status, despite their immersion into the man‘s professional field. of destruction and reconstruction, an analysis that takes into account the artist‘s subjects and From late 19th century, finally women artists began to depict themselves unidealized, realis- methodologies, the work‘s intended display and reception, and most importantly, the Colom- tic and even expose themselves in nude. Rego‘s woman artist, however, is not realistic, re- bian context from which they emerged. In doing so, I consider how Salcedo‘s use of domes- vealing or even fantasized. And why such a bulky, awkward body? What purpose does it tic objects allegorize the site of the home, a place of refuge and shelter, as violated and de- serve in rendering her in this unappealing manner? stroyed. This aspect draws parallels to the phenomenon of displacement that has resulted from the political conflict, and has affected millions of Colombians over the past several dec- Rego depicted several women artists, who all represent herself. She uses them to ades. A contextualized reading also illustrates how this phenomenon uniquely affects the Co- explore issues of role playing, power and sexuality. This paper addresses these images of lombian women Salcedo interviews, and the opportunities for renewal that they experience in women artists by Rego where there are interplays of past ideas and present feminist theories the process. By calling upon these overlooked details, it becomes evident that Salcedo‘s that result in her unique artistic vision. The bulkiness of the woman artist is the focus of this sculptures, in their materials and aesthetic qualities, conjure a domestic space that is not paper, which will show the many layered ideas associated with such imaging. simply evocative of displaced women, but is a site where a profound and unusual reconstruction of gender roles tends to take place among the victims she speaks with—thus accounting for the ‗reconstructive‘ elements in each sculpture. This revelation helps to give greater dimension to the complexity of Salcedo‘s practice, and illuminates factors that have been critically overlooked in the existing literature.

75 76 Reimagining Femininity Modern Art II—Painting and Politicsi

Role Reversal, Power and Sexuality at Play: Imaging the Woman Artist by Paula Rego An artist‘s career through four German regimes: Horst Schlossar (1903-64) in Dresden Soo Yun Kang, Professor of Art History, Chicago State University Jonathan Osmond, Research Professor in Modern European History, Cardiff University

In the majority of Rego‘s works, the protagonist is a woman who is usually depicted Horst Schlossar (alternatively Šlosar) was born in Dresden in 1903 to a Czech father bulky. Joseph’s Dream of 1990 is no exception. Conspicuous are Rego‘s typical massive and a Sorbian mother. He trained at the Academy of Fine Arts in Dresden from 1927 to awkward figures, particularly the woman artist who is also rather uncomely in feature and 1934, for most of that time as a Meisterschüler of Otto Dix. He continued to exhibit through- masculine in posture, seemingly having full command over her male model. Clearly there is out the Third Reich, and during his wartime service in Yugoslavia entertained his comrades a role reversal of the traditional studio scene. with cartoons of army life. In the Soviet Occupation Zone and then the GDR he pursued a This is definitely a postmodern feminist work that deconstructs not just studio modest career as a proponent of Socialist Realist painting, hitting the headlines in 1953 with scenes, but also self-portraits of women artists of the past. Women artists depicted them- ―Bauerndelegation bei der ersten sozialistischen Künstlerbrigade‖. He also produced paint- selves feminine and attractive in etiquette-proper mannerism and posture, trying to empha- ings, sketches, propaganda posters, and a mural for the Slavic Sorbian population of the size their lady-like, upright status, despite their immersion into the man‘s professional field. south-eastern GDR, and later worked with the National People‘s Army. His short career th From late 19 century, finally women artists began to depict themselves unidealized, realis- therefore encompasses a huge variety of subjects and styles, working within the political, tic and even expose themselves in nude. Rego‘s woman artist, however, is not realistic, re- social and cultural strictures of four regimes. vealing or even fantasized. And why such a bulky, awkward body? What purpose does it This illustrated talk, based on extensive research in the museums, galleries, archives serve in rendering her in this unappealing manner? and libraries of Saxony, will discuss how one artist‘s life and work could be so infused by Rego depicted several women artists, who all represent herself. She uses them to the dramatic political changes taking place around him. From the artist‘s correspondence, explore issues of role playing, power and sexuality. This paper addresses these images of contemporary catalogues, and a review of works in store in Saxony and Berlin, the author women artists by Rego where there are interplays of past ideas and present feminist theories has managed to reconstitute much of Schlossar‘s oeuvre. Works will be shown which have that result in her unique artistic vision. The bulkiness of the woman artist is the focus of this rarely been seen in public, even in Germany. paper, which will show the many layered ideas associated with such imaging.

Modern Art II—Painting and Politicsi Modern Art II—Painting and Politics

An Artist‘s Career through Four German Regimes: Horst Schlossar (1903-64) in Politics, Gender, and the ―Visceral Image‖: Salvador Dalí‘s Paintings of the 1930s Dresden Anna M. Schuer, MA candidate, Case Western Reserve University Jonathan Osmond, Research Professor in Modern European History, Cardiff University

Beginning in the 1940s, Salvador Dalí adopted a staunchly apolitical stance, despite Horst Schlossar (alternatively Šlosar) was born in Dresden in 1903 to a Czech father having demonstrated a marked interest in both communism and anarchism in the 1930s and and a Sorbian mother. He trained at the Academy of Fine Arts in Dresden from 1927 to having created several overtly political paintings. Much of the scholarship surrounding Dalí 1934, for most of that time as a Meisterschüler of Otto Dix. He continued to exhibit through- conforms to the artist‘s own belated attempt to direct his legacy, focusing more on psycho- out the Third Reich, and during his wartime service in Yugoslavia entertained his comrades biographic elements, all but excising the overt political commentary in his early career. This with cartoons of army life. In the Soviet Occupation Zone and then the GDR he pursued a paper will challenge Dalí‘s assertions through an examination of his political opinions dur- modest career as a proponent of Socialist Realist painting, hitting the headlines in 1953 with ing the 1930s, as manifested not only in his explicit depictions of Nazism and the Spanish ―Bauerndelegation bei der ersten sozialistischen Künstlerbrigade‖. He also produced paint- Civil War, but also in his numerous images of sexual anxiety and gender conflict. The start- ings, sketches, propaganda posters, and a mural for the Slavic Sorbian population of the ing point for this paper is Salvador Dalí‘s The Dream of ca. 1931, acquired by the Cleveland south-eastern GDR, and later worked with the National People‘s Army. His short career Museum of Art in 2001. Careful examination of The Dream suggests that it is one of Dalí‘s therefore encompasses a huge variety of subjects and styles, working within the political, first portraits of his wife, Gala Dalí, an identification that no scholars have made to date. By social and cultural strictures of four regimes. acknowledging The Dream as a portrait of Gala, I will not only add the painting to the body of works associated with her, but I will demonstrate how Gala‘s apotropaic function within This illustrated talk, based on extensive research in the museums, galleries, archives The Dream extended to the political realm, foreshadowing Dalí‘s use of the feminine as a and libraries of Saxony, will discuss how one artist‘s life and work could be so infused by mitigating force against the rising tide of oppression and strife throughout the 1930s. the dramatic political changes taking place around him. From the artist‘s correspondence, contemporary catalogues, and a review of works in store in Saxony and Berlin, the author has managed to reconstitute much of Schlossar‘s oeuvre. Works will be shown which have rarely been seen in public, even in Germany.

77 Modern Art II—Painting and Politics Modern Art II—Painting and Politicsi

Politics, Gender, and the ―Visceral Image‖: Salvador Dalí‘s Paintings of the 1930s Postcolonial Picasso: Les Femmes d’Alger and the Algerian Revolution Anna M. Schuer, MA candidate, Case Western Reserve University Amanda Beresford, Ph.D. candidate, Washington University in St. Louis

Beginning in the 1940s, Salvador Dalí adopted a staunchly apolitical stance, despite In November 1954, Picasso began his series of variations on Eugène Delacroix‘s having demonstrated a marked interest in both communism and anarchism in the 1930s and orientalist painting Les Femmes d’Alger (The Women of Algiers), painted in 1834, shortly having created several overtly political paintings. Much of the scholarship surrounding Dalí after France colonized Algeria; two artists‘ work brackets Algeria‘s colonial history. The conforms to the artist‘s own belated attempt to direct his legacy, focusing more on psycho- Algerian Revolution began in the same month as Picasso‘s paintings; this bloody war even- biographic elements, all but excising the overt political commentary in his early career. This tually resulted in Algerian independence from French rule in 1962. Was Picasso‘s choice of paper will challenge Dalí‘s assertions through an examination of his political opinions dur- this subject at this time related to the nascent conflict? He never said so, but is it possible ing the 1930s, as manifested not only in his explicit depictions of Nazism and the Spanish that the struggle of the Algerian people against a repressive colonial regime stimulated Pi- Civil War, but also in his numerous images of sexual anxiety and gender conflict. The start- casso‘s political consciousness—his identification with the brutalized and oppressed that ing point for this paper is Salvador Dalí‘s The Dream of ca. 1931, acquired by the Cleveland had produced Guernica, and that motivated his joining the French Communist party? The Museum of Art in 2001. Careful examination of The Dream suggests that it is one of Dalí‘s answer is complicated; in 1962, Picasso made a drawing of an Algerian woman tortured and first portraits of his wife, Gala Dalí, an identification that no scholars have made to date. By sentenced to death by France for terrorism, as part of an international campaign for her re- acknowledging The Dream as a portrait of Gala, I will not only add the painting to the body lease, thus irrevocably linking his name to the cause of Algerian independence. No other of works associated with her, but I will demonstrate how Gala‘s apotropaic function within evidence exists, however, for his sympathy with that revolutionary cause. This paper inves- The Dream extended to the political realm, foreshadowing Dalí‘s use of the feminine as a tigates the genesis of Picasso‘s Femmes d’Alger paintings in the context of his conflicted mitigating force against the rising tide of oppression and strife throughout the 1930s. political sympathies in the 1950s, and examines their surprising reappropriation by a later generation of Algerian feminist writers as documents of anti-colonial and anti-orientalist resistance. Assia Djebar and Anissa Bouayed, among others, have claimed Picasso‘s paintings as a manifesto of liberation from imposed structures of existence, vision, and thought, pre-and post-revolution. The potential of Picasso‘s art to accrue such meanings on the basis of historical synchronicity, independent of his intentions, is evidence of art‘s unpredictable afterlife; it also demonstrates the propensity of narratives of resistance to legitimate themselves by appropriating and reinvesting the expressive forms of the dominant culture.

Modern Art II—Painting and Politicsi Time Keepers

Postcolonial Picasso: Les Femmes d’Alger and the Algerian Revolution Ancient Representations of Time: The Athenian Calendar Frieze Amanda Beresford, Ph.D. candidate, Washington University in St. Louis Karen A. Laurence, Visiting Lecturer, University of Illinois, Champaign-Urbana

In November 1954, Picasso began his series of variations on Eugène Delacroix‘s The Athenian Calendar Frieze is a record of the Athenian festival year and in- orientalist painting Les Femmes d’Alger (The Women of Algiers), painted in 1834, shortly cludes the first representation of the full cycle of the zodiac. Dating to the late Hellenis- after France colonized Algeria; two artists‘ work brackets Algeria‘s colonial history. The tic/early Roman period, the inclusion of the zodiac signs correlates with the significant Algerian Revolution began in the same month as Picasso‘s paintings; this bloody war even- attention to calendrical calculation that was taking place during the late Republic and the tually resulted in Algerian independence from French rule in 1962. Was Picasso‘s choice of Julio-Claudian eras. At this time, artistic and rhetorical constructions of time reckoning this subject at this time related to the nascent conflict? He never said so, but is it possible were being utilized to organize time as an ideological tool, creating a façade of stability that the struggle of the Algerian people against a repressive colonial regime stimulated Pi- and continuity in the wake of the Civil Wars that had rocked the eastern Mediterranean. casso‘s political consciousness—his identification with the brutalized and oppressed that The festival representations and chronological markers on the Athenian Calendar Frieze had produced Guernica, and that motivated his joining the French Communist party? The provide a case study of the analysis of the iconography of time reckoning in Athens as it answer is complicated; in 1962, Picasso made a drawing of an Algerian woman tortured and came under Roman influence and control. Furthermore, as Athens and the rest of Greece sentenced to death by France for terrorism, as part of an international campaign for her re- were subsumed into the Roman Empire, the people of Athens sought to emphasize their lease, thus irrevocably linking his name to the cause of Algerian independence. No other cultural relevance, through a revitalization of ancient Athenian cults and an increased evidence exists, however, for his sympathy with that revolutionary cause. This paper inves- interest in the mytho-historic invention of civilization and agriculture that was supposed tigates the genesis of Picasso‘s Femmes d’Alger paintings in the context of his conflicted to have taken place in Athens. The frieze‘s emphasis on particular Athenian rites, espe- political sympathies in the 1950s, and examines their surprising reappropriation by a later cially agricultural festivals, and the prominence given to the autumn, which was the time generation of Algerian feminist writers as documents of anti-colonial and anti-orientalist of sowing grains and harvesting grapes, aligns with this phenomenon. resistance. Assia Djebar and Anissa Bouayed, among others, have claimed Picasso‘s paintings as a manifesto of liberation from imposed structures of existence, vision, and thought, pre-and post-revolution. The potential of Picasso‘s art to accrue such meanings on the basis of historical synchronicity, independent of his intentions, is evidence of art‘s unpredictable afterlife; it also demonstrates the propensity of narratives of resistance to legitimate themselves by appropriating and reinvesting the expressive forms of the dominant culture.

79 80 Time Keepers Time Keepersi

Ancient Representations of Time: The Athenian Calendar Frieze The Clash of Calendars in 16th Century Mexico Anne Walke Cassidy, Associate Professor, Carthage College Karen A. Laurence, Visiting Lecturer, University of Illinois, Champaign-Urbana

The Athenian Calendar Frieze is a record of the Athenian festival year and in- The Spanish subjugation of Mexico in the 16th century included the effort to eradi- cludes the first representation of the full cycle of the zodiac. Dating to the late Hellenis- cate native calendars and replace them with European time. Toward this goal, painted Mexi- tic/early Roman period, the inclusion of the zodiac signs correlates with the significant can calendars were confiscated and destroyed, and reference to local time by natives was attention to calendrical calculation that was taking place during the late Republic and the forbidden. Spanish time was imposed by force, with varying degrees of success. While Julio-Claudian eras. At this time, artistic and rhetorical constructions of time reckoning Spanish brutality in eradicating native calendars was explained as necessary to win native were being utilized to organize time as an ideological tool, creating a façade of stability souls for Christianity, its fervor can be better understood as an attempt to obliterate a con- and continuity in the wake of the Civil Wars that had rocked the eastern Mediterranean. ception of time so profoundly different from European ideas as to represent an existential The festival representations and chronological markers on the Athenian Calendar Frieze threat to the Spaniards‘ ability to retain a sense of self in someone else‘s land. provide a case study of the analysis of the iconography of time reckoning in Athens as it This talk will first investigate the aesthetics of central Mexican painted calendars came under Roman influence and control. Furthermore, as Athens and the rest of Greece that were in circulation when the Spanish arrived. It will then look at Spanish attempts to were subsumed into the Roman Empire, the people of Athens sought to emphasize their understand and rationalize Mexican time through Spanish visual interpretations of native cultural relevance, through a revitalization of ancient Athenian cults and an increased calendars. Comparing native calendars with calendars from the Spanish continent in the ear- interest in the mytho-historic invention of civilization and agriculture that was supposed ly 16th century, I will show that the two different conceptions of time are incompatible con- to have taken place in Athens. The frieze‘s emphasis on particular Athenian rites, espe- structs physically, metaphysically, and aesthetically. From this, I will suggest that the vio- cially agricultural festivals, and the prominence given to the autumn, which was the time lence of the Spanish against native Mexican calendar specialists throughout the 16th and of sowing grains and harvesting grapes, aligns with this phenomenon. 17th centuries represents not only religious zeal, but intellectual and aesthetic repression of an idea of time that threatened the foundations of the European world view.

Time Keepersi Time Keepers

The Clash of Calendars in 16th Century Mexico Now and Then: Enduring Time in the Work of Piotr Szyhalski, R. Luke DuBois, Anne Walke Cassidy, Associate Professor, Carthage College Marcus Young, and Pritika Chowdry Diane A. Mullin, Curator, Weisman Art Museum, University of Minnesota The Spanish subjugation of Mexico in the 16th century included the effort to eradi- cate native calendars and replace them with European time. Toward this goal, painted Mexi- This paper explores recent works by four contemporary artists that use time as sub- can calendars were confiscated and destroyed, and reference to local time by natives was ject, material, and practice. The works—Piotr Szyhalski‘s dusk-to-dawn interactive events forbidden. Spanish time was imposed by force, with varying degrees of success. While Empty Words (so that we can do our livings) and Permanent Labor; R. Luke DuBois‘s Spanish brutality in eradicating native calendars was explained as necessary to win native four-year sound piece Star Spangled Banner and time manipulated film, Fashionably Late souls for Christianity, its fervor can be better understood as an attempt to obliterate a con- for the Relationship; Marcus Young‘s large-scale, multipart One Thousand Year Plan pro- ception of time so profoundly different from European ideas as to represent an existential ject; and Pritika Chowdry‘s nine-hour, participatory installation, Empty Time—mine the threat to the Spaniards‘ ability to retain a sense of self in someone else‘s land. ideas of both ―deep history‖ and ―the long now‖ to present and use time as a tool for re- This talk will first investigate the aesthetics of central Mexican painted calendars thinking experience. As a group, the works promote the value of measured, contemplative that were in circulation when the Spanish arrived. It will then look at Spanish attempts to meditation and long views of time in our current age of rapid change. In distinct works, understand and rationalize Mexican time through Spanish visual interpretations of native each artist uses the element of endurance in a time-based practice to address the issue of calendars. Comparing native calendars with calendars from the Spanish continent in the ear- time and experience. ly 16th century, I will show that the two different conceptions of time are incompatible con- The paper considers the contemporary works in the context of endurance art of the structs physically, metaphysically, and aesthetically. From this, I will suggest that the vio- 1960s and 1970s by artists such as Acconci, Ono, and Burden. Both the earlier and con- lence of the Spanish against native Mexican calendar specialists throughout the 16th and temporary works address the issues of time and experience. While building on the legacy 17th centuries represents not only religious zeal, but intellectual and aesthetic repression of of the earlier art, the contemporary practitioners present a different view of time and endur- an idea of time that threatened the foundations of the European world view. ance, one that melds endurance with the ―art into life‖ ideas also espoused in the 1960s and 1970s. The key difference between the historical and contemporary strategies, the paper argues, lies in the point of view of what comprises and constitutes life. The works of Szyhalski, DuBois, Young, and Chowdry, present life as endurance, endured, and enduring through the practices of reflection, creation, and recording.

81 82 Time Keepers American Art I: The Art of Education: From Portrait Collections to Chalki

Talks, Sheet Music to Museum Exhibitionsi Now and Then: Enduring Time in the Work of Piotr Szyhalski, R. Luke DuBois, An American ―Gallery of Beauties‖: Ideological Formation in The Republican Court Marcus Young, and Pritika Chowdry (1855) Diane A. Mullin, Curator, Weisman Art Museum, University of Minnesota Emily Gerhold, Assistant Professor of Art History, Henderson State University This paper inaugurates scholarly consideration of a collection of portrait prints enti- This paper explores recent works by four contemporary artists that use time as sub- tled The Republican Court: or American Society in the Days of Washington, published in ject, material, and practice. The works—Piotr Szyhalski‘s dusk-to-dawn interactive events 1855 by poet Rufus Wilmot Griswold (1815-1857). Featuring twenty-one engraved portraits Empty Words (so that we can do our livings) and Permanent Labor; R. Luke DuBois‘s of women from the Revolutionary era interspersed with anecdotes about female activities in four-year sound piece Star Spangled Banner and time manipulated film, Fashionably Late colonial America, The Republican Court was meant to serve as a behavioral guide for for the Relationship; Marcus Young‘s large-scale, multipart One Thousand Year Plan pro- American women of the mid-nineteenth century. ject; and Pritika Chowdry‘s nine-hour, participatory installation, Empty Time—mine the Much more significant than its function as a model for American women, though, ideas of both ―deep history‖ and ―the long now‖ to present and use time as a tool for re- was the work Griswold‘s Court did to vindicate broad aspects of American culture. The thinking experience. As a group, the works promote the value of measured, contemplative text‘s introduction notes that Griswold complied The Republican Court in order to present meditation and long views of time in our current age of rapid change. In distinct works, an alternative to the tradition of European ‗galleries of beauties,‘ the most famous of which each artist uses the element of endurance in a time-based practice to address the issue of were assembled by British Kings Charles II and William III in the seventeenth century. time and experience. American audiences of the 1850s were familiar with galleries of beauties in general, and The paper considers the contemporary works in the context of endurance art of the particularly with the British galleries of the seventeenth century, since, by the time Gris- 1960s and 1970s by artists such as Acconci, Ono, and Burden. Both the earlier and con- wold‘s Court was published, the so-called Windsor and Hampton Court beauties had been temporary works address the issues of time and experience. While building on the legacy circulating as prints for several decades. More importantly, they were familiar with of the earlier art, the contemporary practitioners present a different view of time and endur- longstanding concerns about the morality of the women in the portraits. So, in place of those ance, one that melds endurance with the ―art into life‖ ideas also espoused in the 1960s and British beauties who bared their shoulders and bosoms and gazed at viewers with heavy- 1970s. The key difference between the historical and contemporary strategies, the paper lidded eyes, Griswold‘s Court presented to audiences a group of wholesome ladies whose argues, lies in the point of view of what comprises and constitutes life. The works of modest attire and bright eyes signified American propriety and moral superiority. Despite its Szyhalski, DuBois, Young, and Chowdry, present life as endurance, endured, and enduring popularity in its own time, The Republican Court has been overlooked by modern scholars. through the practices of reflection, creation, and recording. In addition to presenting the first critical study of the portraits, this paper offers a reading of Griswold‘s Court within the context of mid-nineteenth century political and artistic discourses, and shows how the prints extended ongoing rhetorical efforts to construct Ameri- can cultural difference.

American Art I: The Art of Education: American Art I: The Art of Education: From Portrait Collections to Chalki From Portrait Collections to Chalk Talks, Sheet Music to Museum Exhibitionsi Talks, Sheet Music to Museum Exhibitions An American ―Gallery of Beauties‖: Ideological Formation in The Republican Court Contrabands, Nostalgic Former Slaves, and Union Soldiers: African Americans in Illustrated (1855) Civil War Sheet Music Emily Gerhold, Assistant Professor of Art History, Henderson State University Theresa Leininger-Miller, Associate Professor of Art History, University of Cincinnati This paper inaugurates scholarly consideration of a collection of portrait prints enti- Out of the thousands of pieces of illustrated sheet music from the Civil War, more than sev- tled The Republican Court: or American Society in the Days of Washington, published in eral dozen feature African Americans on the covers, reflecting white concepts about blackness and U.S. citizenship. Although there were at least nine prolific black composers, such as J.W. Post- 1855 by poet Rufus Wilmot Griswold (1815-1857). Featuring twenty-one engraved portraits lewaite, William Appo, and Isaac Hazard, at this time, most of them produced light compositions, of women from the Revolutionary era interspersed with anecdotes about female activities in including waltzes, mazurkas, schottisches, quadrilles, and marches and their music covers were often adorned only with fancy lettering. White lyricists and illustrators (the latter of whom largely remain colonial America, The Republican Court was meant to serve as a behavioral guide for unidentified) generally depicted African Americans as men, usually inept and clueless, but some compositions conveyed more ambiguous messages. A typical example, by composer Septimus Winner, is American women of the mid-nineteenth century. ―The ―Contraband‖ Schottische.‖ ―Contraband‖ denotes any item that is illegal to be possessed or sold. During the Civil War, Confederate-owned slaves seeking refuge in Union military camps or Much more significant than its function as a model for American women, though, living in territories under Union control were called ―contradand of war.‖ The curious cover depicts a was the work Griswold‘s Court did to vindicate broad aspects of American culture. The white man, whip in hand, running down steps after four tumbling black men. While one looks fearful, the others seem mischievous. Although the image may be ambiguous, the composer clearly honored text‘s introduction notes that Griswold complied The Republican Court in order to present those who treated African Americans as equals. He dedicated the instrumental to Major General Ben- jamin Franklin Butler, a lawyer and politician who represented Massachusetts in the U.S. House of an alternative to the tradition of European ‗galleries of beauties,‘ the most famous of which Representatives and was later the 33rd Governor of Massachusetts. During the Civil War, Butler were assembled by British Kings Charles II and William III in the seventeenth century. served as a major general in the Union Army. He was the first Eastern Union General to declare runa- way Virginia slaves "contraband of war" and refused to return them to their masters. Southern whites American audiences of the 1850s were familiar with galleries of beauties in general, and nicknamed him "Beast Butler.‖ Related compositions that reply on negative stereotypes are ―The Old Contraband‖ and ―The Happy Contraband.‖ particularly with the British galleries of the seventeenth century, since, by the time Gris- After the Emancipation Proclamation, there appeared images of aimless, old bearded men, wold‘s Court was published, the so-called Windsor and Hampton Court beauties had been knapsacks on shoulders, who longed for the supposedly good old plantation life, as in ―My Ole Home in Alabama ‗Fo‘ De War‖ and ―I‘se Gwine Back to Dixie.‖ The message is that such loyal former circulating as prints for several decades. More importantly, they were familiar with slaves have no families or lives of their own, and need the direction of whites to provide for them. Music publishers produced two types of images of black soldiers, those who were ill- longstanding concerns about the morality of the women in the portraits. So, in place of those prepared, effeminate, and comical, as in ―Raw Recruits‖ and ―Invalid Corps,‖ and those who were British beauties who bared their shoulders and bosoms and gazed at viewers with heavy- eager to battle for freedom, as in ―Who Says the Darkies Won‘t Fight?‖ and ―Babylon is Fallen!‖ In the latter piece lyrics describe former slaves in uniform, brandishing bayonets for the Union army and lidded eyes, Griswold‘s Court presented to audiences a group of wholesome ladies whose using pumpkins in a forty-pound cannon when shells ran out. The soldiers will crack ―Butternuts‖ (a term for Confederates) and take their former master prisoner. This song compares Jewish captivity to modest attire and bright eyes signified American propriety and moral superiority. Despite its African American slavery. Composer Henry Clay Work was an active abolitionist. The cover illus- popularity in its own time, The Republican Court has been overlooked by modern scholars. tration is radical for its time with its depiction of seven, grinning (but not caricatured) black soldiers taking aim at their former white owner, a colonel in the rebel army. In addition to presenting the first critical study of the portraits, this paper offers a reading of In this paper, I argue that such images underscore negative tropes already present in fine art and other media but also break ground with daring depictions of competent and assertive African Griswold‘s Court within the context of mid-nineteenth century political and artistic dis- Americans. courses, and shows how the prints extended ongoing rhetorical efforts to construct Ameri- can cultural difference.

83 84 American Art I: The Art of Education: American Art I: The Art of Education: From Portrait Collections to Chalk From Portrait Collections to Chalk i Talks, Sheet Music to Museum Exhibitions Talks, Sheet Music to Museum Exhibitionsi Contrabands, Nostalgic Former Slaves, and Union Soldiers: African Americans in Illustrated Frank Beard and the Chautauqua Movement Civil War Sheet Music Thelma Rohrer, Assistant Professor and Chair, Manchester University Theresa Leininger-Miller, Associate Professor of Art History, University of Cincinnati

Out of the thousands of pieces of illustrated sheet music from the Civil War, more than sev- Frank Beard (1842-1905), from an artistic family in Cincinnati, Ohio, is recognized as the eral dozen feature African Americans on the covers, reflecting white concepts about blackness and U.S. citizenship. Although there were at least nine prolific black composers, such as J.W. Post- originator of ―Chalk Talks,‖ popular lectures illustrated with rapid chalk drawings. As an lewaite, William Appo, and Isaac Hazard, at this time, most of them produced light compositions, illustrator, cartoonist, and lithographer, his talent for drawing was recognized by Currier & including waltzes, mazurkas, schottisches, quadrilles, and marches and their music covers were often adorned only with fancy lettering. White lyricists and illustrators (the latter of whom largely remain Ives, Frank Leslie’s Illustrated News and Harper’s Weekly. In 1871, he illustrated Dr. Ed- unidentified) generally depicted African Americans as men, usually inept and clueless, but some compositions conveyed more ambiguous messages. A typical example, by composer Septimus Winner, is ward Eggleston‘s best-seller Hoosier School Master, which sold 500,000 copies. In 1872, ―The ―Contraband‖ Schottische.‖ ―Contraband‖ denotes any item that is illegal to be possessed or his illustrations for F.G. Welch‘s book, That Convention: Or, Five Days a Politician, a hu- sold. During the Civil War, Confederate-owned slaves seeking refuge in Union military camps or living in territories under Union control were called ―contradand of war.‖ The curious cover depicts a morous account of the Cincinnati Convention which nominated Horace Greeley for presi- white man, whip in hand, running down steps after four tumbling black men. While one looks fearful, the others seem mischievous. Although the image may be ambiguous, the composer clearly honored dent, broadened Beard‘s reputation. It was his interest in educational entertainment, howev- those who treated African Americans as equals. He dedicated the instrumental to Major General Ben- er, that found a natural outlet with the establishment of Chautauqua, a religious, cultural, jamin Franklin Butler, a lawyer and politician who represented Massachusetts in the U.S. House of Representatives and was later the 33rd Governor of Massachusetts. During the Civil War, Butler and recreational center on Lake Chautauqua, New York in 1874. Beard became a regular served as a major general in the Union Army. He was the first Eastern Union General to declare runa- way Virginia slaves "contraband of war" and refused to return them to their masters. Southern whites feature during the next fifteen years, entertaining groups of all ages with his illustrated lec- nicknamed him "Beast Butler.‖ Related compositions that reply on negative stereotypes are ―The Old tures or ―Chalk Talks.‖ Although regarded as ―the clown of Chautauqua‖ he was a serious Contraband‖ and ―The Happy Contraband.‖ After the Emancipation Proclamation, there appeared images of aimless, old bearded men, educator, who blended humor and religion with a focus on youth education, and published knapsacks on shoulders, who longed for the supposedly good old plantation life, as in ―My Ole Home in Alabama ‗Fo‘ De War‖ and ―I‘se Gwine Back to Dixie.‖ The message is that such loyal former his first book, The Chalk Lesson: The Blackboard in the Sunday School, in 1877. Beard was slaves have no families or lives of their own, and need the direction of whites to provide for them. central to the expansion of the Chautauqua Movement, traveling the Chautauqua Circuit for Music publishers produced two types of images of black soldiers, those who were ill- prepared, effeminate, and comical, as in ―Raw Recruits‖ and ―Invalid Corps,‖ and those who were seventeen years. As the ―Celebrated New York Chalk Talk Artist,‖ he attracted admission- eager to battle for freedom, as in ―Who Says the Darkies Won‘t Fight?‖ and ―Babylon is Fallen!‖ In the latter piece lyrics describe former slaves in uniform, brandishing bayonets for the Union army and paying crowds across the country. His later publications, as Professor and Chair of Aesthet- using pumpkins in a forty-pound cannon when shells ran out. The soldiers will crack ―Butternuts‖ (a ics and Painting at Syracuse University and magazine editor in Chicago, are examples of term for Confederates) and take their former master prisoner. This song compares Jewish captivity to African American slavery. Composer Henry Clay Work was an active abolitionist. The cover illus- effective illustration for education. tration is radical for its time with its depiction of seven, grinning (but not caricatured) black soldiers taking aim at their former white owner, a colonel in the rebel army. In this paper, I argue that such images underscore negative tropes already present in fine art and other media but also break ground with daring depictions of competent and assertive African Americans.

American Art I: The Art of Education: American Art I: The Art of Education: From Portrait Collections to Chalk i From Portrait Collections to Chalk Talks, Sheet Music to Museum Exhibitionsi Talks, Sheet Music to Museum Exhibitions Frank Beard and the Chautauqua Movement Exhibit as Intervention: Representation, Revision, and Two Centuries of Black American Art Thelma Rohrer, Assistant Professor and Chair, Manchester University Rebecca Fenton, Ph.D. Candidate, Department of the History of Art, Indiana University, Bloomington Frank Beard (1842-1905), from an artistic family in Cincinnati, Ohio, is recognized as the originator of ―Chalk Talks,‖ popular lectures illustrated with rapid chalk drawings. As an Organized by the Los Angeles County Museum of Art in 1976, the nationally-touring exhi- illustrator, cartoonist, and lithographer, his talent for drawing was recognized by Currier & bition Two Centuries of Black American Art, 1750–1950 is remembered as a watershed mo- Ives, Frank Leslie’s Illustrated News and Harper’s Weekly. In 1871, he illustrated Dr. Ed- ment in African American art history, yet its origins and specifics have received little study. ward Eggleston‘s best-seller Hoosier School Master, which sold 500,000 copies. In 1872, Two Centuries deserves a closer look not only for the breadth and power of its 200-plus ob- his illustrations for F.G. Welch‘s book, That Convention: Or, Five Days a Politician, a hu- jects, but also for the strategies its organizers used to navigate a field and an institution that morous account of the Cincinnati Convention which nominated Horace Greeley for presi- were often hostile to them. This paper explores the complex curatorial argument Two Centu- dent, broadened Beard‘s reputation. It was his interest in educational entertainment, howev- ries advanced through objects, images, texts, and techniques of display. Analyses of select er, that found a natural outlet with the establishment of Chautauqua, a religious, cultural, artworks reveal some of the possibilities and limitations of this argument as it sought to cre- and recreational center on Lake Chautauqua, New York in 1874. Beard became a regular ate a usable past for African American artists. feature during the next fifteen years, entertaining groups of all ages with his illustrated lec- The exhibition‘s organizers engaged with issues common to the wider field of American art tures or ―Chalk Talks.‖ Although regarded as ―the clown of Chautauqua‖ he was a serious history: they aimed to excavate the origins of American identity and demonstrate through- educator, who blended humor and religion with a focus on youth education, and published lines to the present. However, Two Centuries must also be understood as the product of its his first book, The Chalk Lesson: The Blackboard in the Sunday School, in 1877. Beard was particular milieu and as the result of concerted black activism. LACMA framed the exhibi- central to the expansion of the Chautauqua Movement, traveling the Chautauqua Circuit for tion as part of its United States Bicentennial celebrations. Thus the exhibit was politicized, seventeen years. As the ―Celebrated New York Chalk Talk Artist,‖ he attracted admission- freighted with a monumental task of representation in both actual and imagined/historical paying crowds across the country. His later publications, as Professor and Chair of Aesthet- sites where black people previously had little presence. Because this activism took the form ics and Painting at Syracuse University and magazine editor in Chicago, are examples of of a museum exhibition—with all the capabilities and blind spots that entails—Two Centu- effective illustration for education. ries was indeed groundbreaking, but also inherently conservative. It was canon-building, not canon-busting, work.

85 86 American Art I: The Art of Education: Eighteenth-Century Arti From Portrait Collections to Chalk Talks, Sheet Music to Museum Exhibitions Exhibit as Intervention: Representation, Revision, and Two Centuries of Black Cornelis de Bruyn (1652–1726): Artist, Traveler, and Writer American Art Rebecca Fenton, Ph.D. Candidate, Department of the History of Art, Indiana University, Rebecca Brienen, Ph.D., Vennerberg Professor of Art and Professor of Art History, Bloomington Oklahoma State University.

This paper addresses the fascinating career of Cornelis de Bruyn (1652–1726), an artist, Organized by the Los Angeles County Museum of Art in 1976, the nationally-touring exhi- traveler, and writer from The Hague who spent nearly thirty years outside of the Dutch Re- bition Two Centuries of Black American Art, 1750–1950 is remembered as a watershed mo- public, living and working in places as far flung as Rome, Constantinople, and Batavia in ment in African American art history, yet its origins and specifics have received little study. the Dutch East Indies. During his lifetime, De Bruyn was in contact with other Dutch and Two Centuries deserves a closer look not only for the breadth and power of its 200-plus ob- European artists, many of them leading painters of the day. In addition, major political fig- jects, but also for the strategies its organizers used to navigate a field and an institution that ures, including Dutch Stadholder and English king William III, Tsar Peter I of Russia, and were often hostile to them. This paper explores the complex curatorial argument Two Centu- Nicolaes Witsen (Dutch East India Company Director and burgomaster of Amsterdam) were ries advanced through objects, images, texts, and techniques of display. Analyses of select patrons and supporters of de Bruyn. The existing literature on de Bruyn has focused specifi- artworks reveal some of the possibilities and limitations of this argument as it sought to cre- cally on his published travel accounts, but not on his career as an artist in Europe and ate a usable past for African American artists. abroad, areas that this paper will address. The exhibition‘s organizers engaged with issues common to the wider field of American art history: they aimed to excavate the origins of American identity and demonstrate through- lines to the present. However, Two Centuries must also be understood as the product of its particular milieu and as the result of concerted black activism. LACMA framed the exhibition as part of its United States Bicentennial celebrations. Thus the exhibit was politicized, freighted with a monumental task of representation in both actual and imagined/historical sites where black people previously had little presence. Because this activism took the form of a museum exhibition—with all the capabilities and blind spots that entails—Two Centu- ries was indeed groundbreaking, but also inherently conservative. It was canon-building, not canon-busting, work.

Eighteenth-Century Arti Eighteenth-Century Art

Cornelis de Bruyn (1652–1726): Artist, Traveler, and Writer Capturing Genius: Collecting Salvator Rosa‘s Etchings in Eighteenth-Century England

Rebecca Brienen, Ph.D., Vennerberg Professor of Art and Professor of Art History, Nicole N. Conti, Ph.D. Candidate, University of Minnesota. Oklahoma State University. British artists, antiquarians, and aristocrats in the eighteenth century transformed Baroque This paper addresses the fascinating career of Cornelis de Bruyn (1652–1726), an artist, artist Salvator Rosa (1615–1673) into an archetypal figure embodying the spirit of the Grand traveler, and writer from The Hague who spent nearly thirty years outside of the Dutch Re- Tour. Rosa‘s persona pervaded many aspects of intellectual life in England: tourists experi- public, living and working in places as far flung as Rome, Constantinople, and Batavia in enced Rome through his eyes, staying in his former home and comparing their journeys to his the Dutch East Indies. During his lifetime, De Bruyn was in contact with other Dutch and landscapes; collectors bought his paintings and etchings; artists emulated Rosa‘s style in their European artists, many of them leading painters of the day. In addition, major political fig- works, and created original works that featured Rosa; and composers, novelists, poets, and ures, including Dutch Stadholder and English king William III, Tsar Peter I of Russia, and playwrights wrote works of fiction casting Rosa as a revolutionary. This paper looks at the Nicolaes Witsen (Dutch East India Company Director and burgomaster of Amsterdam) were role collecting Rosa‘s prints had in this eighteenth-century revival of Rosa and his cult of patrons and supporters of de Bruyn. The existing literature on de Bruyn has focused specifi- genius. It specifically examines albums compiled by eighteenth-century aristocrats of Rosa‘s cally on his published travel accounts, but not on his career as an artist in Europe and Figurine—a set of 64 small etchings that contains between 1 and 5 figures such as ragged abroad, areas that this paper will address. soldiers, knights, Roman sentinels, and seductresses. While each composition contains a unique image, the prints share many visual rhymes: the same figures reappear in different combinations; some figures point off the page; others display dramatic gestural reactions; some compositions mirror each other; some images appear to represent the same group from a different vantage point; etc. This iconography allowed the prints to play off one another in an unlimited number of ways, encouraging the collector to interact with the images and to create personal narratives between the figures. Through the act of recombining these images, the album-maker asserted his own interpretive agency over the images and assigned a new meaning to Rosa and his oeuvre that reflected the needs of the collector.

87 88 Eighteenth-Century Art Eighteenth-Century Arti

Capturing Genius: Collecting Salvator Rosa‘s Etchings in Eighteenth-Century England Sèvres‘ Teaching of Love and the Concept of Marriage in Eighteenth-Century France

Nicole N. Conti, Ph.D. Candidate, University of Minnesota. Sarah S. Jones, Ph.D. Student, University of Missouri–Columbia

British artists, antiquarians, and aristocrats in the eighteenth century transformed Baroque In 1763, the royal porcelain manufactory at Sèvres, France, produced a small sculpture enti- artist Salvator Rosa (1615–1673) into an archetypal figure embodying the spirit of the Grand tled The Teaching of Love. The mythological subject of the piece references an episode in Tour. Rosa‘s persona pervaded many aspects of intellectual life in England: tourists experi- the life of Cupid, god of love, in which he was taught to read by Mercury. Produced in un- enced Rome through his eyes, staying in his former home and comparing their journeys to his glazed biscuit porcelain, the Sèvres group displays an adolescent Cupid passing along his landscapes; collectors bought his paintings and etchings; artists emulated Rosa‘s style in their knowledge to three young women on the verge of marriageable age. If Mercury, the god of works, and created original works that featured Rosa; and composers, novelists, poets, and eloquence, taught Cupid about rhetoric, then Cupid, god of love must be relaying his playwrights wrote works of fiction casting Rosa as a revolutionary. This paper looks at the knowledge of love to these girls. Cupid is often cast as an allegory for love and sentiment, role collecting Rosa‘s prints had in this eighteenth-century revival of Rosa and his cult of an ingredient emphasized in marital relationships during the romantic Rococo era. Eight- genius. It specifically examines albums compiled by eighteenth-century aristocrats of Rosa‘s eenth-century philosophers developed the notion of love, or sentiment, as a vital part of Figurine—a set of 64 small etchings that contains between 1 and 5 figures such as ragged marriage. I propose that Cupid teaching a young girl, as he was taught by Mercury, denotes soldiers, knights, Roman sentinels, and seductresses. While each composition contains a that an education in the ways of love was an integral element in grooming a girl for her mar- unique image, the prints share many visual rhymes: the same figures reappear in different ital relationship in mid-eighteenth century France. Education controlled the passions of the combinations; some figures point off the page; others display dramatic gestural reactions; mischievous god; love and sentiment controls immoral passions that threatened the stability some compositions mirror each other; some images appear to represent the same group from of the early modern marriage. I suggest that this scene of girls under the tutelage of a charis- a different vantage point; etc. This iconography allowed the prints to play off one another in matic Cupid relates to the shifting ideas about the concept of marriage and proper aspects of an unlimited number of ways, encouraging the collector to interact with the images and to a woman‘s preparations for her marital relationship in eighteenth-century France. create personal narratives between the figures. Through the act of recombining these images, the album-maker asserted his own interpretive agency over the images and assigned a new meaning to Rosa and his oeuvre that reflected the needs of the collector.

Eighteenth-Century Arti Eighteenth-Century Art

Sèvres‘ Teaching of Love and the Concept of Marriage in Eighteenth-Century France Celebrating Rococo Splendor in St. Louis: Historicizing Prussian Furniture at the 1904 World's Fair Sarah S. Jones, Ph.D. Student, University of Missouri–Columbia Tobias Locker, Ph.D., Lecturer, Saint Louis University, Madrid

In 1763, the royal porcelain manufactory at Sèvres, France, produced a small sculpture entitled The Teaching of Love. The mythological subject of the piece references an episode in Early World Fairs were showcases for technical innovations and achievements in the arts. the life of Cupid, god of love, in which he was taught to read by Mercury. Produced in un- Nations presented themselves with spectacular pavilions that often referenced a glorious glazed biscuit porcelain, the Sèvres group displays an adolescent Cupid passing along his period of their past with distinct architectonical forms or interiors, thereby endowing chau- knowledge to three young women on the verge of marriageable age. If Mercury, the god of vinist narratives and economic ambitions with historical weight. At the 1904 St. Louis Fair, eloquence, taught Cupid about rhetoric, then Cupid, god of love must be relaying his the German Empire pursued a concept that had proven successful at the Paris Exhibition knowledge of love to these girls. Cupid is often cast as an allegory for love and sentiment, four years earlier. In St Louis, the Imperial pavilion resembled the central building of Char- an ingredient emphasized in marital relationships during the romantic Rococo era. Eight- lottenburg Palace, and its interiors emphasized the Frederician Rococo, embellished with a eenth-century philosophers developed the notion of love, or sentiment, as a vital part of mix of original and recreated interiors intended to recall the time when Prussia became a marriage. I propose that Cupid teaching a young girl, as he was taught by Mercury, denotes major player in Europe. that an education in the ways of love was an integral element in grooming a girl for her mar- In particular, this paper addresses the important work of the contemporary luxury furniture ital relationship in mid-eighteenth century France. Education controlled the passions of the producer Joseph-Émmanuel Zwiener (c. 1848–after 1910). On the basis of new archival mischievous god; love and sentiment controls immoral passions that threatened the stability findings, various examples will illustrate how this Berlin-based cabinetmaker—‗purveyor to of the early modern marriage. I suggest that this scene of girls under the tutelage of a charis- the court of his majesty the German King and Emperor William II‘—adopted historic matic Cupid relates to the shifting ideas about the concept of marriage and proper aspects of French and Prussian models. The paper links his production to the royal furniture the Swiss- a woman‘s preparations for her marital relationship in eighteenth-century France. born Johann Melchior Kambly (1718–1784) had created for Frederick of Prussia, and it will explain how the objects of these two artisans had already been used to support a nationalistic narrative at the 1900 World‘s Fair in Paris. Considering that Zwiener‘s outstanding Neo- Rococo furniture was seen by contemporaries as equal to the works of the famous Parisian entrepreneur François Linke, the political dimension in exhibiting his luxury objects as ‗German‘ creations is explained. Thus, it will become clear how historic and historicizing furniture were instrumentalized within a nationalist cultural discourse reflecting the compe- tition between Prussia and France at the beginning of the twentieth century.

89 90 Eighteenth-Century Art Art of the Ancient Americas I – Mesoamerica and the Intermediate Areai

Celebrating Rococo Splendor in St. Louis: Historicizing Prussian Furniture at the 1904 Notes on the Nature of the Classic Veracruz Yoke World's Fair Rex Koontz, Professor, Director of the School of Art, University of Houston Tobias Locker, Ph.D., Lecturer, Saint Louis University, Madrid

Although the portable U-shaped sculpture known as the yoke is often linked to the Early World Fairs were showcases for technical innovations and achievements in the arts. Classic period ballgame, this presentation will look at the evidence for other meanings and Nations presented themselves with spectacular pavilions that often referenced a glorious functions of the yoke in Classic Veracruz, including its use in dedicatory caches, funerary period of their past with distinct architectonical forms or interiors, thereby endowing chau- contexts, and the rites surrounding rulership. The Classic Veracruz yoke virtually defined vinist narratives and economic ambitions with historical weight. At the 1904 St. Louis Fair, the culture of the Mexican Gulf Coast during the Classic period. It was a critical part of elite the German Empire pursued a concept that had proven successful at the Paris Exhibition material culture in the region by 100 CE and continues to be made throughout the entire four years earlier. In St Louis, the Imperial pavilion resembled the central building of Char- Classic period, ending about 1000 CE with the disappearance of a recognizably Classic Ver- lottenburg Palace, and its interiors emphasized the Frederician Rococo, embellished with a acruz culture sphere and the transition to the Postclassic in the area. Unlike the two portable mix of original and recreated interiors intended to recall the time when Prussia became a sculptures often grouped with it, the hacha and the palma, both of which are more limited in major player in Europe. distribution in time and space, the yoke has a continuous history throughout the period and is found in every region of the Classic Veracruz area. In particular, this paper addresses the important work of the contemporary luxury furniture Much of the writing on the Classic Veracruz yoke has revolved around its role in producer Joseph-Émmanuel Zwiener (c. 1848–after 1910). On the basis of new archival the ballgame. The hypothesis presented here is that while the yoke continually drew on its findings, various examples will illustrate how this Berlin-based cabinetmaker—‗purveyor to relation with the ballgame, the presence of yokes was part of the sacralization of events that the court of his majesty the German King and Emperor William II‘—adopted historic went well beyond ballgame contexts. By the apogee of Classic Veracruz culture in the Late French and Prussian models. The paper links his production to the royal furniture the Swiss- Classic period, it may be argued that the yoke‘s major functions and symbolism may be born Johann Melchior Kambly (1718–1784) had created for Frederick of Prussia, and it will found in these extensions of meaning beyond the ballgame. explain how the objects of these two artisans had already been used to support a nationalistic narrative at the 1900 World‘s Fair in Paris. Considering that Zwiener‘s outstanding Neo- Rococo furniture was seen by contemporaries as equal to the works of the famous Parisian entrepreneur François Linke, the political dimension in exhibiting his luxury objects as ‗German‘ creations is explained. Thus, it will become clear how historic and historicizing furniture were instrumentalized within a nationalist cultural discourse reflecting the compe- tition between Prussia and France at the beginning of the twentieth century.

Art of the Ancient Americas I – Mesoamerica Art of the Ancient Americas I – Mesoamerica and the Intermediate Areai and the Intermediate Area

Notes on the Nature of the Classic Veracruz Yoke Breaking open the Gourd: The Identity of Individual 6 in the North Wall Mural at San Bartolo Rex Koontz, Professor, Director of the School of Art, University of Houston David Ouellette, Instructor of Art History, College of Dupage

Although the portable U-shaped sculpture known as the yoke is often linked to the Classic period ballgame, this presentation will look at the evidence for other meanings and The so-called ―Gourd Birth Scene‖ in the North Wall Mural at San Bartolo, Guate- functions of the yoke in Classic Veracruz, including its use in dedicatory caches, funerary mala contains an enigmatic figure, whose identity has yet to be securely established. Known contexts, and the rites surrounding rulership. The Classic Veracruz yoke virtually defined as ―Individual 6,‖ this figure was identified as having features relating him to an early ver- the culture of the Mexican Gulf Coast during the Classic period. It was a critical part of elite sion of the Plumed Serpent by Saturno et al. (2005). However, this individual seems to material culture in the region by 100 CE and continues to be made throughout the entire share features similar to a number of other commonly represented Maya deities from the Classic period, ending about 1000 CE with the disappearance of a recognizably Classic Ver- Preclassic and Classic Periods, most notably those of Chahk and K‘awiil. This short paper acruz culture sphere and the transition to the Postclassic in the area. Unlike the two portable offers a discussion of this issue, and some larger implications about the indistinct identities sculptures often grouped with it, the hacha and the palma, both of which are more limited in of Maya deities in the Preclassic period. distribution in time and space, the yoke has a continuous history throughout the period and is found in every region of the Classic Veracruz area.

Much of the writing on the Classic Veracruz yoke has revolved around its role in the ballgame. The hypothesis presented here is that while the yoke continually drew on its relation with the ballgame, the presence of yokes was part of the sacralization of events that went well beyond ballgame contexts. By the apogee of Classic Veracruz culture in the Late Classic period, it may be argued that the yoke‘s major functions and symbolism may be found in these extensions of meaning beyond the ballgame.

91 92 Art of the Ancient Americas I – Mesoamerica Art of the Ancient Americas I – Mesoamerica and the Intermediate Area and the Intermediate Area

Breaking open the Gourd: The Identity of Individual 6 in the North Wall Mural at San The Possible Nahualistic Properties of Intermediate Area Gold and Tumbaga Bartolo Zoomorphs David Ouellette, Instructor of Art History, College of Dupage Elizabeth Haughey, Honors B.A. candidate, Missouri State University

The so-called ―Gourd Birth Scene‖ in the North Wall Mural at San Bartolo, Guate- This presentation focuses on the research of a group of five Intermediate Area gold mala contains an enigmatic figure, whose identity has yet to be securely established. Known and tumbaga objects that represent five different Pre-Columbian cultures: the Diquís, the as ―Individual 6,‖ this figure was identified as having features relating him to an early ver- Gran Chiriquí, the Darién, the Tairona, and the Muisca. These objects were made from gold sion of the Plumed Serpent by Saturno et al. (2005). However, this individual seems to and from tumbaga, an alloy of gold and copper, using three main metalworking techniques: share features similar to a number of other commonly represented Maya deities from the forging, lost-wax casting, and depletion gilding. While they each were produced in a differ- Preclassic and Classic Periods, most notably those of Chahk and K‘awiil. This short paper ent culture area, all five of these objects have zoomorphic qualities, and they often share offers a discussion of this issue, and some larger implications about the indistinct identities similar imagery, such as the common cacique form, caiman features, or raptorial bird fea- of Maya deities in the Preclassic period. tures, likely due to the close proximity of these cultures.

These objects all likely served similar functions as well, probably as personal adorn- ment to indicate wealth or status in society. The imagery they illustrate also suggests that they may have represented or even functioned as tools, such as amulets, for religious practices. The human-animal imagery of each figure‘s face, the staffs or rattles, and the hemi- spherical ―mushroom‖ headdress illustrated in the Darién cacique pendant suggest the possibility of a shaman in the process of ritualistic transformation. Such transformation of people into animals by means of meditation, dreams, hallucinogenic drugs, masks, music, or other ritual activity is embodied in the idea of nahualism, the Mesoamerican concept that suggests that priests or shamans have animal spirits or counterparts that assist with divination, incan- tation, or healing.

Art of the Ancient Americas I – Mesoamerica Contemporary Art and the Intermediate Area

The Possible Nahualistic Properties of Intermediate Area Gold and Tumbaga Self-ish (re)presentation: Individualism vs. Critical Individuality in a Time of Restoration, Zoomorphs 1969-1974 Elizabeth Haughey, Honors B.A. candidate, Missouri State University Kristen M. Carter, Ph.D. Candidate, University of British Columbia

This presentation focuses on the research of a group of five Intermediate Area gold The spirit of the radical youth movements of the late-1960s had much to do with a and tumbaga objects that represent five different Pre-Columbian cultures: the Diquís, the flight from social determinations. It was a moment when students stopped being students Gran Chiriquí, the Darién, the Tairona, and the Muisca. These objects were made from gold and some artists stopped being artists—people existed outside the social prescriptions set in and from tumbaga, an alloy of gold and copper, using three main metalworking techniques: place for them by the government and society. However, by 1969 and operating under the forging, lost-wax casting, and depletion gilding. While they each were produced in a differ- promise to ―restore order to the streets and campuses,‖ Richard Nixon‘s newly elected con- ent culture area, all five of these objects have zoomorphic qualities, and they often share servative administration sought to put people back into their so-called places, and any pro- similar imagery, such as the common cacique form, caiman features, or raptorial bird fea- spect of a shared, collective community waned. tures, likely due to the close proximity of these cultures. With photography and self portraiture as its primary focus, this paper considers how These objects all likely served similar functions as well, probably as personal adorn- a restoration of individualism in the post-1968 period intersected with new artistic strategies ment to indicate wealth or status in society. The imagery they illustrate also suggests that concerned with self (re)presentation. Artists like Ana Mendieta, Hans Breder and Vito Ac- they may have represented or even functioned as tools, such as amulets, for religious prac- conci will be considered, and the ways in which they called the seemingly fixed subject into tices. The human-animal imagery of each figure‘s face, the staffs or rattles, and the hemi- question through photographic modes of subjective displacement, repetition, and disjuncture spherical ―mushroom‖ headdress illustrated in the Darién cacique pendant suggest the possi- will be put into tension. In so doing, this paper aims to reveal how these artists constructed a bility of a shaman in the process of ritualistic transformation. Such transformation of people new kind of incommensurable ‗self‘ that critically negotiated his or her social position from into animals by means of meditation, dreams, hallucinogenic drugs, masks, music, or other within a discursive matrix marked by socio-political limits, and thereby strategically sub- ritual activity is embodied in the idea of nahualism, the Mesoamerican concept that suggests verted a larger systematic effort to ‗restore,‘ ‗place‘ and order dissent. At stake here is a nu- that priests or shamans have animal spirits or counterparts that assist with divination, incan- anced definition of individuality at this time and how it became tactically antithetical to both tation, or healing. an ideological instrumentalization of individualism, as well as the possibilities once- promised by a new spirit of collectivism witnessed throughout the 1960s.

93 94 Contemporary Art Contemporary Arti

Self-ish (re)presentation: Individualism vs. Critical Individuality in a Time of Restoration, Phantom Memory: Walid Raad and Unstable Objects 1969-1974 Marselle Bredemeyer, MA Candidate, University of Missouri-Kansas City Kristen M. Carter, Ph.D. Candidate, University of British Columbia

Walid Raad‘s art operates as a cognitive prosthesis that allows unconscious process-

es to become observable, creating an opening through which the Lebanese spaces he docu- The spirit of the radical youth movements of the late-1960s had much to do with a ments are able to become real memories for viewers. Cognitive science research has demon- flight from social determinations. It was a moment when students stopped being students strated that, through retinal afterimages, our eyes have enough might to reflect back stimuli and some artists stopped being artists—people existed outside the social prescriptions set in that were not ever consciously processed. Raad‘s art, in psychic parallel to such a finding, place for them by the government and society. However, by 1969 and operating under the demonstrates that the unseen residue of warfare can similarly be more vibrant in the promise to ―restore order to the streets and campuses,‖ Richard Nixon‘s newly elected con- memory of an object than the object itself. In the photo-document series Let’s Be Honest, servative administration sought to put people back into their so-called places, and any pro- The Weather Helped, Raad brings this mechanism of unconscious absorption to the surface. spect of a shared, collective community waned. Grainy photos of Beirut buildings are partially covered by differently sized, colorful dots With photography and self portraiture as its primary focus, this paper considers how that overlap and give the images a tactile sensation. When viewed closely, it can be seen that a restoration of individualism in the post-1968 period intersected with new artistic strategies many of the dots are transparent, much like afterimage phenomena. Simultaneously, these concerned with self (re)presentation. Artists like Ana Mendieta, Hans Breder and Vito Ac- unsubstantial spots make phantoms of the surrounding buildings, producing a jarring inten- conci will be considered, and the ways in which they called the seemingly fixed subject into sity that serves to create a strong tie between the viewer and the photos. A witness‘s question through photographic modes of subjective displacement, repetition, and disjuncture memory of walking through the pictured urban environment is transposed onto our own. In will be put into tension. In so doing, this paper aims to reveal how these artists constructed a much of Raad‘s art, this ability of ephemera to assimilate themselves into memory works to new kind of incommensurable ‗self‘ that critically negotiated his or her social position from build a backdrop for a new discourse on contemporary Lebanese history while also produc- within a discursive matrix marked by socio-political limits, and thereby strategically sub- tively dismantling damaging western stereotypes about the Middle East. By capturing the verted a larger systematic effort to ‗restore,‘ ‗place‘ and order dissent. At stake here is a nu- unstable qualities of solid objects in his art, Walid Raad activates the past and reveals its anced definition of individuality at this time and how it became tactically antithetical to both phantom presence in the present. an ideological instrumentalization of individualism, as well as the possibilities once- promised by a new spirit of collectivism witnessed throughout the 1960s.

Contemporary Arti Contemporary Art

Phantom Memory: Walid Raad and Unstable Objects Skin: The Art of Kim Joon Marselle Bredemeyer, MA Candidate, University of Missouri-Kansas City Rachel Baum, Assistant Professor, Fashion Institute of Technology, State University of New York

Walid Raad‘s art operates as a cognitive prosthesis that allows unconscious process- The model is a manifold concept in figurative art and the larger culture. Traditional- es to become observable, creating an opening through which the Lebanese spaces he docu- ly, it means a sitter that poses, a studio presence that the artist depicts from life as portrait or prop. Modeling also refers to the illusion of depth and curvature in painting, the volumetric ments are able to become real memories for viewers. Cognitive science research has demon- shading that simulates three-dimensions on the picture plane. It can also mean an archetype, strated that, through retinal afterimages, our eyes have enough might to reflect back stimuli a canon, as in defining beauty. Within the advertising industry, the model is a creature of that were not ever consciously processed. Raad‘s art, in psychic parallel to such a finding, display, an idealized animation of the commodity. In digital image programming, modeling demonstrates that the unseen residue of warfare can similarly be more vibrant in the means the structuring of forms, the armature of virtual spaces and objects. Kim Joon‘s art- memory of an object than the object itself. In the photo-document series Let’s Be Honest, work incorporates all of these meanings of model, from muse to facsimile, construction to spectacle, body to machine. The Weather Helped, Raad brings this mechanism of unconscious absorption to the surface. Kim uses a CGI (computer generated imagery) program called 3D Studio Max to Grainy photos of Beirut buildings are partially covered by differently sized, colorful dots depict human figures without using any photographic sources. The intense visual realism is that overlap and give the images a tactile sensation. When viewed closely, it can be seen that achieved entirely through digital code. The marketing for this product claims to let users many of the dots are transparent, much like afterimage phenomena. Simultaneously, these ―create organic objects‖ on which surfaces – ―skins‖– ―can becontrolled.‖1 Kim takes this unsubstantial spots make phantoms of the surrounding buildings, producing a jarring inten- idea and uses it to reflect critically on the marketing of identity and the body as a consumer sity that serves to create a strong tie between the viewer and the photos. A witness‘s product. memory of walking through the pictured urban environment is transposed onto our own. In Initially, the idealized hyper-designed bodies in Kim‘s artwork appear to conform to much of Raad‘s art, this ability of ephemera to assimilate themselves into memory works to the fantasy standards of advertising. Their artificial, technological skin is made up of corpo- rate emblems embedded in swirling, linear forms derived from traditional decorative Asian build a backdrop for a new discourse on contemporary Lebanese history while also produc- prints, textiles and ceramics. However, the closer one looks, the more flaws and distortions tively dismantling damaging western stereotypes about the Middle East. By capturing the one finds. The skin that one expects to be ―retouched‖ and perfected instead erupts with are- unstable qualities of solid objects in his art, Walid Raad activates the past and reveals its as of unruly hair or red rash, skin that is messy and damaged by the conventions of contem- phantom presence in the present. porary fashion and pornography. My paper will analyze three or four artworks in detail and offer a full discussion of how Kim Joon uses the digital technique of ―skinning‖ to undermine conformity, both in relation to the body and our global culture of consumerism.

95 96 Contemporary Art Soldiers, Lovers, and Family in Seventeenth-Century Paintingsi

Skin: The Art of Kim Joon Born Under Mars (and Mercury?): The Dutch soldier, from pillager to art lover Rachel Baum, Assistant Professor, Fashion Institute of Technology, State University of New Leonard Pouy, Lecturer, Reims Champagne-Ardenne University York

The model is a manifold concept in figurative art and the larger culture. Traditional- Amid a climate of overall reformation in the Netherlands during the first half of the XVIIth ly, it means a sitter that poses, a studio presence that the artist depicts from life as portrait or century – which encompassed the whole of Dutch society and touched upon politics, reli- prop. Modeling also refers to the illusion of depth and curvature in painting, the volumetric shading that simulates three-dimensions on the picture plane. It can also mean an archetype, gion, and art – a young group of ambitious artists from Amsterdam began to produce a a canon, as in defining beauty. Within the advertising industry, the model is a creature of number of compositions around new military themes. Known for depictions of relaxing sol- display, an idealized animation of the commodity. In digital image programming, modeling diers, who can be found drinking, smoking, sleeping, and gambling in dark interiors while means the structuring of forms, the armature of virtual spaces and objects. Kim Joon‘s art- waiting for the call to arms, these works were quickly given the label cortegaerd (from the work incorporates all of these meanings of model, from muse to facsimile, construction to old French corps de garde) by art experts and theorists from the time. spectacle, body to machine. Kim uses a CGI (computer generated imagery) program called 3D Studio Max to Partly inherited from flemish rooverijen, or scenes of robbery, and other boerenverdriet, or depict human figures without using any photographic sources. The intense visual realism is peasant miseries, the earliest guardroom scenes offered a clearly negative image of soldiers. achieved entirely through digital code. The marketing for this product claims to let users Surprisingly, while initially referring to the brutal actualities of the Eighty Years‘ War ―create organic objects‖ on which surfaces – ―skins‖– ―can becontrolled.‖1 Kim takes this (1566-1648), artists like Willem Cornelisz. Duyster, Simon Kick, Pieter Quast or, later, An- idea and uses it to reflect critically on the marketing of identity and the body as a consumer thonie Palamedesz. quickly moved away towards a radically different iconography, break- product. ing up Karel van Mander‘s traditional dichotomy between violence and artistry by involv- Initially, the idealized hyper-designed bodies in Kim‘s artwork appear to conform to ing soldiers in the evaluation of some of the pillaged properties. the fantasy standards of advertising. Their artificial, technological skin is made up of corpo- rate emblems embedded in swirling, linear forms derived from traditional decorative Asian This presentation will examine how the figure of the Dutch marauding mercenary gradually prints, textiles and ceramics. However, the closer one looks, the more flaws and distortions left behind his sad rags for the luxurious attire of the enlightened officer. Capable of show- one finds. The skin that one expects to be ―retouched‖ and perfected instead erupts with are- ing leniency toward his prisoners, this more refined soldier was equally able to display a as of unruly hair or red rash, skin that is messy and damaged by the conventions of contemporary fashion and pornography. certain amount of taste, if not expertise, with regards to looted whether they would be pre- cious textiles, goldsmith objects and even paintings. My paper will analyze three or four artworks in detail and offer a full discussion of how Kim Joon uses the digital technique of ―skinning‖ to undermine conformity, both in relation to the body and our global culture of consumerism.

Soldiers, Lovers, and Family in Soldiers, Lovers, and Family in Seventeenth-Century Paintingsi Seventeenth-Century Paintings

Born Under Mars (and Mercury?): The Dutch soldier, from pillager to art lover Sweetly Felled on the Grass: Amorous Play in Rubens‘ Castle Park

Leonard Pouy, Lecturer, Reims Champagne-Ardenne University Jan Kennedy, Assistant Professor, Kansas City Art Institute

Amid a climate of overall reformation in the Netherlands during the first half of the XVIIth Peter Paul Rubens, best known for his grandiose religious and mythological paintings, also century – which encompassed the whole of Dutch society and touched upon politics, reli- produced more intimate and lyrical works such as Castle Park (c. 1632/35, Kunsthistorisch- gion, and art – a young group of ambitious artists from Amsterdam began to produce a es Museum in Vienna). The small but intriguing painting presents a view of a castle with number of compositions around new military themes. Known for depictions of relaxing sol- figures enjoying leisurely pursuits in the foreground landscape. This paper will reveal how diers, who can be found drinking, smoking, sleeping, and gambling in dark interiors while this apparently simple representation offers a rich lineage of pictorial and literary associa- waiting for the call to arms, these works were quickly given the label cortegaerd (from the tions, especially with love garden themes, outdoor ―merry company‖ representations, old French corps de garde) by art experts and theorists from the time. hofdichten (country house poems), and pastoral conventions that were so popular in the

Partly inherited from flemish rooverijen, or scenes of robbery, and other boerenverdriet, or Netherlands. Most significantly, it is this latter connection to pastoral conventions that sheds peasant miseries, the earliest guardroom scenes offered a clearly negative image of soldiers. light on the meaning of the ―grassing‖ game that is strangely and uniquely depicted in Ru- Surprisingly, while initially referring to the brutal actualities of the Eighty Years‘ War bens‘ painting. The game involves the stuffing of flowers, grass or hay under the dress or (1566-1648), artists like Willem Cornelisz. Duyster, Simon Kick, Pieter Quast or, later, An- clothes of one‘s lover. Contemporary literature by G. A. Bredero and a pastoral play by Jan thonie Palamedesz. quickly moved away towards a radically different iconography, break- Harmens Krul contain references to such amorous activities. Most strikingly, an illustrated ing up Karel van Mander‘s traditional dichotomy between violence and artistry by involv- 17th-century Dutch songbook offers a glimpse into the cultural traditions and leisurely pas- ing soldiers in the evaluation of some of the pillaged properties. times that inform this intimate painting by Rubens.

This presentation will examine how the figure of the Dutch marauding mercenary gradually left behind his sad rags for the luxurious attire of the enlightened officer. Capable of showing leniency toward his prisoners, this more refined soldier was equally able to display a certain amount of taste, if not expertise, with regards to looted whether they would be pre- cious textiles, goldsmith objects and even paintings.

97 98 Soldiers, Lovers, and Family in Soldiers, Lovers, and Family in Seventeenth-Century Paintings Seventeenth-Century Paintingsi

Sweetly Felled on the Grass: Amorous Play in Rubens‘ Castle Park Coast and Kin: Mercantile and Familial Values in Nicolaes Maes‘ Portrait of the Cuyter Family Jan Kennedy, Assistant Professor, Kansas City Art Institute Denise Giannino, Ph.D. Candidate, University of Kansas

Peter Paul Rubens, best known for his grandiose religious and mythological paintings, also produced more intimate and lyrical works such as Castle Park (c. 1632/35, Kunsthistorisch- Much of the seventeenth-century Dutch Republic‘s economic and political success derived es Museum in Vienna). The small but intriguing painting presents a view of a castle with from its engagement with the sea, and the Dutchman‘s varied relationship to the sea was figures enjoying leisurely pursuits in the foreground landscape. This paper will reveal how celebrated in diverse media, including family portraits where the sitters are pictured in aque- this apparently simple representation offers a rich lineage of pictorial and literary associa- ous environs. This paper analyzes Nicolaes Maes‘ Portrait of the Cuyter Family 1659 (North tions, especially with love garden themes, outdoor ―merry company‖ representations, Carolina Museum of Art) as one example of a type of family portrait that is an unusual picto- hofdichten (country house poems), and pastoral conventions that were so popular in the rial hybrid of portraiture and seascape. Maes pictured Job and Dingetje Cuyter with their six Netherlands. Most significantly, it is this latter connection to pastoral conventions that sheds children along a quay, just beyond the urban limits of Dordrecht. This setting alludes to the light on the meaning of the ―grassing‖ game that is strangely and uniquely depicted in Ru- professional activities of the patriarch, who made his wealth in business ventures in shipping bens‘ painting. The game involves the stuffing of flowers, grass or hay under the dress or and related investments. Cuyter was among the considerable number of Hollanders active in clothes of one‘s lover. Contemporary literature by G. A. Bredero and a pastoral play by Jan maritime industries, yet the family is only one of a small number of sitters who chose to have Harmens Krul contain references to such amorous activities. Most strikingly, an illustrated themselves depicted in a watery environment that explicitly connects familial and mercantile 17th-century Dutch songbook offers a glimpse into the cultural traditions and leisurely pas- identity. Other scholars have noted that Maes used the setting to communicate aspects of the times that inform this intimate painting by Rubens. patriarch‘s professional identity; however, this paper, posits a rather more complex visual and interpretive relationship between sitters and setting. I argue that cultural perceptions of the family and of mercantile activities structure the formal and iconographic content of Maes‘s Portrait of Job Cuyter and His Family, and that this image visualizes identity at the intersec- tion of familial and mercantile values.

Soldiers, Lovers, and Family in Photography and Landscape Seventeenth-Century Paintingsi

Coast and Kin: Mercantile and Familial Values in Nicolaes Maes‘ Portrait of the Cuyter Vincent Bezeidenhout, Landscape Imagery, and the Legacy of the South African Family Documentary Tradition

Denise Giannino, Ph.D. Candidate, University of Kansas Meghan L. E. Kirkwood, Assistant Professor of Art, North Dakota State University

Much of the seventeenth-century Dutch Republic‘s economic and political success derived In his series "Separate Amenities" South African photographer Vincent Bezei- from its engagement with the sea, and the Dutchman‘s varied relationship to the sea was denhout represents coastal recreation areas erected during the Apartheid era for use by dif- celebrated in diverse media, including family portraits where the sitters are pictured in aque- ferent races. Bezeidenhout is one of a growing number of South African photographers who ous environs. This paper analyzes Nicolaes Maes‘ Portrait of the Cuyter Family 1659 (North utilize landscape imagery to take part in contemporary discourse aimed at achieving social Carolina Museum of Art) as one example of a type of family portrait that is an unusual picto- and economic justice in South Africa. rial hybrid of portraiture and seascape. Maes pictured Job and Dingetje Cuyter with their six Bezeidenhout‘s landscape work, like that of his peers, represents a new develop- children along a quay, just beyond the urban limits of Dordrecht. This setting alludes to the ment in the history of photography in South Africa, wherein contemporary land-based imag- professional activities of the patriarch, who made his wealth in business ventures in shipping es link back to the nation‘s prominent documentary tradition of the 1970s, 80, and 90s. Dur- and related investments. Cuyter was among the considerable number of Hollanders active in ing this time ‗Struggle photographers‘ emphasized the social role of the photographer, and maritime industries, yet the family is only one of a small number of sitters who chose to have promoted photography as a tool to raise public awareness of the injustices of Apartheid rule. themselves depicted in a watery environment that explicitly connects familial and mercantile Their images remain associated with a particular era in both the political and art histories of identity. Other scholars have noted that Maes used the setting to communicate aspects of the South Africa, and few continue to work in this style. Nevertheless, the distinctive social eth- patriarch‘s professional identity; however, this paper, posits a rather more complex visual and ic Struggle photographers brought to their practice continues to influence young South Afri- interpretive relationship between sitters and setting. I argue that cultural perceptions of the can photographers family and of mercantile activities structure the formal and iconographic content of Maes‘s This paper explores this link between contemporary South African photographers Portrait of Job Cuyter and His Family, and that this image visualizes identity at the intersec- who work with land-based imagery and the tradition of documentary photography estab- tion of familial and mercantile values. lished during the apartheid-era. Using the imagery of Vincent Bezeidenhout and others, I argue that the content of their images and their modes of working align them with documentary predecessors. I discuss the preference for land-based imagery, and argue that genre of landscape is uniquely suited to the aims of photographers such as Bezeidenhout.

99 100 Photography and Landscape Photography and Landscapei

Vincent Bezeidenhout, Landscape Imagery, and the Legacy of the South African Epic Landscape: Memory and Identity in the Work of the ‗Center for Land Use Inter- Documentary Tradition pretation‘ Meghan L. E. Kirkwood, Assistant Professor of Art, North Dakota State University Navjotika Kumar, Assistant Professor, Kent State University

My paper, ―Epic Landscape: Memory and Identity in the Work of the ‗Center for In his series "Separate Amenities" South African photographer Vincent Bezei- Land Use Interpretation‘,‖ will examine the landscape practice of the Los Angles-based denhout represents coastal recreation areas erected during the Apartheid era for use by dif- group the ―Center for Land Use Interpretation‖ (CLUI). By photographing and digitizing ferent races. Bezeidenhout is one of a growing number of South African photographers who diverse land uses and sites throughout the nation, along with information about them, the utilize landscape imagery to take part in contemporary discourse aimed at achieving social CLUI has created the online ―American Land Museum,‖ and ―Land Use Database.‖ Taken and economic justice in South Africa. by anonymous photographers, its photographs are also archived online as the ―Morgan Bezeidenhout‘s landscape work, like that of his peers, represents a new develop- Cowles Archive,‖ and as ―Program Areas‖ consisting of diverse types of landscapes created ment in the history of photography in South Africa, wherein contemporary land-based imag- by the military-industrial complex, and accessible via the group‘s website www.clui.org. es link back to the nation‘s prominent documentary tradition of the 1970s, 80, and 90s. Dur- Deemed a free public resource, and intended to ―create a dynamic contemporary portrait of ing this time ‗Struggle photographers‘ emphasized the social role of the photographer, and the nation, a portrait composed of the national landscape itself,‖ the CLUI‘s work, I will promoted photography as a tool to raise public awareness of the injustices of Apartheid rule. argue, fundamentally re-positions our relation to the latter. Rendered digitally accessible Their images remain associated with a particular era in both the political and art histories of and represented in terms of varied land uses associated with science, industry, technology, South Africa, and few continue to work in this style. Nevertheless, the distinctive social eth- the military, land art, the media, tourism, and so on, the national landscape literally assumes ic Struggle photographers brought to their practice continues to influence young South Afri- epic dimensions in the group‘s work by being linked, networked, and constantly updated to can photographers visualize it as ―a terrestrial system that has been altered to accommodate the complex de- mands of our society.‖ In probing its epic dimensions, my paper will assess how its digital This paper explores this link between contemporary South African photographers reconstitution as a database – one ‖dedicated to the increase and diffusion of knowledge who work with land-based imagery and the tradition of documentary photography estab- about how the nation's lands are apportioned, utilized, and perceived‖ – renders the mythic lished during the apartheid-era. Using the imagery of Vincent Bezeidenhout and others, I American landscape a vital site again for negotiating national identity, as well as the argue that the content of their images and their modes of working align them with documen- memory and legacy of ―Manifest Destiny.‖ tary predecessors. I discuss the preference for land-based imagery, and argue that genre of landscape is uniquely suited to the aims of photographers such as Bezeidenhout.

Photography and Landscapei Photography and Landscape

Epic Landscape: Memory and Identity in the Work of the ‗Center for Land Use Inter- Discovering America, Again: European Encounters in the 1910s and 20s pretation‘ Eric Lutz, Assistant Curator, Prints, Drawings and Photographs, Saint Louis Art Museum Navjotika Kumar, Assistant Professor, Kent State University

In the decades following WWI, artists were keenly interested in engaging with the My paper, ―Epic Landscape: Memory and Identity in the Work of the ‗Center for United States - broadly speaking - as a subject for photography. They often assembled illus- Land Use Interpretation‘,‖ will examine the landscape practice of the Los Angles-based trated books that ambitiously tried to encapsulate what was quintessentially American in group the ―Center for Land Use Interpretation‖ (CLUI). By photographing and digitizing images of both the built and natural landscape. This paper will focus on two of these artists diverse land uses and sites throughout the nation, along with information about them, the whose photographic work has, until recently, largely eluded historical attention and scholar- CLUI has created the online ―American Land Museum,‖ and ―Land Use Database.‖ Taken ly assessment: the Viennese architect R. M. Schindler and the British photographer E. O. by anonymous photographers, its photographs are also archived online as the ―Morgan Hoppé. Schindler was the first member of the European avant-garde to attempt to produce Cowles Archive,‖ and as ―Program Areas‖ consisting of diverse types of landscapes created an illustrated book on American architecture for a European audience, though it did not ulti- by the military-industrial complex, and accessible via the group‘s website www.clui.org. mately come to fruition. E. O. Hoppe‘s ―Romantic America‖ (1927) was one of the most Deemed a free public resource, and intended to ―create a dynamic contemporary portrait of artistically-accomplished volumes in the burgeoning genre of travel books. Both Schindler the nation, a portrait composed of the national landscape itself,‖ the CLUI‘s work, I will and Hoppé adventurously looked beyond the skyscraper skylines of New York and Chicago argue, fundamentally re-positions our relation to the latter. Rendered digitally accessible for inspiration, and a consideration of their imagery engages issues of outsider perspective and represented in terms of varied land uses associated with science, industry, technology, and cultural critique. the military, land art, the media, tourism, and so on, the national landscape literally assumes epic dimensions in the group‘s work by being linked, networked, and constantly updated to visualize it as ―a terrestrial system that has been altered to accommodate the complex de- mands of our society.‖ In probing its epic dimensions, my paper will assess how its digital reconstitution as a database – one ‖dedicated to the increase and diffusion of knowledge about how the nation's lands are apportioned, utilized, and perceived‖ – renders the mythic American landscape a vital site again for negotiating national identity, as well as the memory and legacy of ―Manifest Destiny.‖

101 102 Photography and Landscape Round-Table: Art History Pedagogyi and Curricula in the 21st Centuryi

Discovering America, Again: European Encounters in the 1910s and 20s Round-Table: Art History Pedagogy and Curricula in the 21st Century Eric Lutz, Assistant Curator, Prints, Drawings and Photographs, Saint Louis Art Museum Panel: Eileen McKiernan-Gonzalez, Associate Professor, Program Coordinator for Art and Art His- tory, Berea College; Ana Nieves, Assistant Professor, Northeastern Illinois University; Maureen Quigley, Associate Teaching Professor, Art History Coordinator, University of Missouri – St. Louis; In the decades following WWI, artists were keenly interested in engaging with the Nathalie Hager, Ph.D. Candidate, Interdisciplinary Graduate Studies, Faculty of Creative and Criti- United States - broadly speaking - as a subject for photography. They often assembled illus- cal Studies, University of British Columbia trated books that ambitiously tried to encapsulate what was quintessentially American in images of both the built and natural landscape. This paper will focus on two of these artists whose photographic work has, until recently, largely eluded historical attention and scholar- This round table discussion will address emerging questions in the teaching of art history. ly assessment: the Viennese architect R. M. Schindler and the British photographer E. O. Our panelists will discuss diverse approaches to the theoretical framework and practical ap- Hoppé. Schindler was the first member of the European avant-garde to attempt to produce plications of developing digital technologies for both the on-line and traditional classroom, an illustrated book on American architecture for a European audience, though it did not ulti- of promoting a "global" or "world" curriculum, and of applying innovative pedagogical theo- mately come to fruition. E. O. Hoppe‘s ―Romantic America‖ (1927) was one of the most ries such as gamification and curricula such as Reacting to the Past to the 21st-century class- artistically-accomplished volumes in the burgeoning genre of travel books. Both Schindler room. and Hoppé adventurously looked beyond the skyscraper skylines of New York and Chicago for inspiration, and a consideration of their imagery engages issues of outsider perspective and cultural critique.

Round-Table: Art History Pedagogyi American Art II: Beyond Paul Bunyan and Curricula in the 21st Centuryi and Doc Savage: American Masculinities Between the Wars Round-Table: Art History Pedagogy and Curricula in the 21st Century We Don‘t Need Another Hero: Paul Sample‘s Depression-era Depictions of Men Panel: Eileen McKiernan-Gonzalez, Associate Professor, Program Coordinator for Art and Art His- Christina Larson, Ph.D. Candidate in Art History, Case Western Reserve University tory, Berea College; Ana Nieves, Assistant Professor, Northeastern Illinois University; Maureen Quigley, Associate Teaching Professor, Art History Coordinator, University of Missouri – St. Louis; Artists of the 1930s translated the realities of unemployment during the Great Nathalie Hager, Ph.D. Candidate, Interdisciplinary Graduate Studies, Faculty of Creative and Criti- Depression into their own creations that often feature the "manly" worker. Barbara Melosh, cal Studies, University of British Columbia Karal Ann Marling, and Erika Doss have each noted that such muscular, manly representations were created to deflect anxieties about unemployment and to offset the embarrassment and downtrodden feelings of men who were formerly breadwinners. Strength—both physi- This round table discussion will address emerging questions in the teaching of art history. cal and metaphorical— was the trope that artists represented through their depictions of Our panelists will discuss diverse approaches to the theoretical framework and practical ap- male workers, and work was the key platform for defining masculine identity during the De- plications of developing digital technologies for both the on-line and traditional classroom, pression years, even through the reality was that masculinity was in a state of crisis. The of promoting a "global" or "world" curriculum, and of applying innovative pedagogical theo- character of Superman, which was created in 1933 and grew in popularity during the 1930s, ries such as gamification and curricula such as Reacting to the Past to the 21st-century class- also demonstrated how an everyday man could transform to embody the strong, talented he- room. ro who was capable of saving America.

In this paper, I argue for the significance of less heroic representations of American men in the work of Paul Sample. As an artist who resided in both the Los Angeles area and the New England region during the Great Depression, Sample‘s depictions of men range in terms of class, race, and location. Instead of promoting the strength of the American male worker, Sample represented men who were not working: the unemployed, the distraught, the inebri- ated, the bored, and the isolated. Considering less heroic representations of American men offers a greater dimension for our understanding of masculinity during the Depression Era.

103 104 American Art II: Beyond Paul Bunyan American Art II: Beyond Paul Bunyan and Doc Savage: American and Doc Savage: American

Masculinities Between the Wars Masculinities Between the Warsi We Don‘t Need Another Hero: Paul Sample‘s Depression-era Depictions of Men Uncensored: The Queerly Positive Reception of Paul Cadmus‘s 1937 Solo Exhibition Christina Larson, Ph.D. Candidate in Art History, Case Western Reserve University Anthony J. Morris, Assistant Professor of Art History, Austin Peay State University

Artists of the 1930s translated the realities of unemployment during the Great Paul Cadmus went from obscurity to infamy in 1934 when his painting, The Fleet’s In!, was Depression into their own creations that often feature the "manly" worker. Barbara Melosh, censored from the Public Works of Art Exhibition in Washington, DC. The relationship be- Karal Ann Marling, and Erika Doss have each noted that such muscular, manly representa- tween the artist‘s representation of homosexuality and the censorship of his paintings has tions were created to deflect anxieties about unemployment and to offset the embarrassment nearly dominated his historiography. However, when the Midtown Payson Gallery mounted and downtrodden feelings of men who were formerly breadwinners. Strength—both physi- the artist‘s first solo exhibition in 1937, several paintings and prints overtly representing cal and metaphorical— was the trope that artists represented through their depictions of homosexual desire were included, yet the show was positively received by critics and the male workers, and work was the key platform for defining masculine identity during the De- public. This paper will analyze YMCA Locker Room (1933), Two Boys on a Beach (1936), pression years, even through the reality was that masculinity was in a state of crisis. The and Gilding the Acrobats (1935) to determine the relative visibility of queer content. I will character of Superman, which was created in 1933 and grew in popularity during the 1930s, argue that critics and the artist focused viewer attention on historical precedents such as Lu- also demonstrated how an everyday man could transform to embody the strong, talented he- ca Signorelli to divert attention from queer readings and satirical references like William ro who was capable of saving America. Hogarth to encourage a negative reading of homosexual content where visible. Additionally, differences in age and race in Cadmus‘s constructed queer interactions code the paintings to In this paper, I argue for the significance of less heroic representations of American men in discourage queer readings. As such, Cadmus and his contemporary critics permitted the au- the work of Paul Sample. As an artist who resided in both the Los Angeles area and the New dience to deny the presence of queer content while encouraging an alternate audience to England region during the Great Depression, Sample‘s depictions of men range in terms of delight in it. class, race, and location. Instead of promoting the strength of the American male worker, Sample represented men who were not working: the unemployed, the distraught, the inebri- ated, the bored, and the isolated. Considering less heroic representations of American men offers a greater dimension for our understanding of masculinity during the Depression Era.

American Art II: Beyond Paul Bunyan American Art II: Beyond Paul Bunyan and Doc Savage: American and Doc Savage: American Masculinities Between the Warsi Masculinities Between the Wars Uncensored: The Queerly Positive Reception of Paul Cadmus‘s 1937 Solo Exhibition Palmer Hayden‘s John Henry Series: From Folksong to History Painting Anthony J. Morris, Assistant Professor of Art History, Austin Peay State University Lara Kuykendall, Assistant Professor of Art History, Ball State University

Paul Cadmus went from obscurity to infamy in 1934 when his painting, The Fleet’s In!, was As Americans of the 1930s and 1940s witnessed tremendous social change and conflict, censored from the Public Works of Art Exhibition in Washington, DC. The relationship be- many artists mobilized historical and fictional figures as cultural heroes. Such efforts repre- tween the artist‘s representation of homosexuality and the censorship of his paintings has sent personal attempts to define American identity and were particularly important to Afri- nearly dominated his historiography. However, when the Midtown Payson Gallery mounted can American artists during and after the heyday of the New Negro Movement. In the the artist‘s first solo exhibition in 1937, several paintings and prints overtly representing 1940s, Palmer Hayden contributed to this mission when he created a series of twelve paint- homosexual desire were included, yet the show was positively received by critics and the ings of the steel-driving man John Henry. Hayden‘s John Henry series visualizes the life public. This paper will analyze YMCA Locker Room (1933), Two Boys on a Beach (1936), and death of the black man who challenged the steam drill that had been invented to replace and Gilding the Acrobats (1935) to determine the relative visibility of queer content. I will human labor in railroad construction and asserts the value of African American contribu- argue that critics and the artist focused viewer attention on historical precedents such as Lu- tions to modernity. ca Signorelli to divert attention from queer readings and satirical references like William Hayden endeavored to show that Henry was not just the ―black Paul Bunyan,‖ a racialized Hogarth to encourage a negative reading of homosexual content where visible. Additionally, version of a white, mainstream hero. Hayden deliberately translated the folk song he had differences in age and race in Cadmus‘s constructed queer interactions code the paintings to known from his youth in Virginia into a series of images that functioned as an historical discourage queer readings. As such, Cadmus and his contemporary critics permitted the au- story of America‘s national heritage, inclusive of African Americans. By portraying black dience to deny the presence of queer content while encouraging an alternate audience to and white people rooting for Henry, emphasizing the Christian tropes that had long been a delight in it. part of Henry‘s narrative, and using a patriotic red, white, and blue palette, among other pictorial devices, Hayden canonized this black hero as a member of the American pantheon. Hayden‘s series remains as an evocation of national, regional, and racial pride, while also acknowledging the anxieties and uncertainties that were present as African Americans worked toward achieving full participation in American life and culture.

105 106 American Art II: Beyond Paul Bunyan Art of the Ancient Americas II – The and Doc Savage: American Andean and Intermediate Areasi

Masculinities Between the Wars Palmer Hayden‘s John Henry Series: From Folksong to History Painting Vessel of Life: A Case Study of a Colonial Andean Kero Lara Kuykendall, Assistant Professor of Art History, Ball State University Megan Kirsop, M.A., Independent Researcher, University of Florida

Keros are one of the few pre-Hispanic Andean artistic expressions that survived the As Americans of the 1930s and 1940s witnessed tremendous social change and conflict, Spanish Conquest and subsequent cultural suppression. Before and during the colonial peri- many artists mobilized historical and fictional figures as cultural heroes. Such efforts repre- od, these wooden cups were used to drink aqha, or maize beer, in ritual ceremonies often sent personal attempts to define American identity and were particularly important to Afri- associated with agriculture. This paper examines the imagery on a previously unpublished can American artists during and after the heyday of the New Negro Movement. In the colonial Andean kero that is in the collection of the Samuel P. Harn Museum of Art. While 1940s, Palmer Hayden contributed to this mission when he created a series of twelve paint- the Harn kero is from the colonial era, the imagery on it reveals a connection to the pre- ings of the steel-driving man John Henry. Hayden‘s John Henry series visualizes the life Hispanic past of the Inka. By examining the Harn kero and its iconography, we begin to and death of the black man who challenged the steam drill that had been invented to replace better understand the larger cosmological importance of keros to the Inka, and subsequent- human labor in railroad construction and asserts the value of African American contribu- ly, how the persistence of kero production during the colonial period was likely due to the tions to modernity. kero’s status as a metaphysical link to this heritage. The Harn kero’s iconography relates to Hayden endeavored to show that Henry was not just the ―black Paul Bunyan,‖ a racialized pre-Conquest traditions and associations that were visually translated into representational version of a white, mainstream hero. Hayden deliberately translated the folk song he had imagery during the colonial period. My objective is two-fold: 1) to establish Inka keros as known from his youth in Virginia into a series of images that functioned as an historical more prominent cosmological objects, both before the Conquest and during the Colonial story of America‘s national heritage, inclusive of African Americans. By portraying black period, and 2) to analyze the iconography of a specific kero in order to support that posi- and white people rooting for Henry, emphasizing the Christian tropes that had long been a tion. I assert that the overall cosmological meaning of the Harn kero, and likely of all Inka part of Henry‘s narrative, and using a patriotic red, white, and blue palette, among other pic- and colonial keros, is irrevocably rooted in the Andean worldview and the Inka conception torial devices, Hayden canonized this black hero as a member of the American pantheon. of the circle of life. Hayden‘s series remains as an evocation of national, regional, and racial pride, while also acknowledging the anxieties and uncertainties that were present as African Americans worked toward achieving full participation in American life and culture.

Art of the Ancient Americas II – The Art of the Ancient Americas II – The Andean and Intermediate Areasi Andean and Intermediate Areas

Vessel of Life: A Case Study of a Colonial Andean Kero Head Motifs on Cupisnique Style Ceramics: Emblems of Cultural Identity in Early Megan Kirsop, M.A., Independent Researcher, University of Florida Andean Art Yumi Park, Assistant Professor, Department of Art, Jackson State University Keros are one of the few pre-Hispanic Andean artistic expressions that survived the Spanish Conquest and subsequent cultural suppression. Before and during the colonial peri- The term ―Cupisnique‖ is applied to the culture and artifacts found in the od, these wooden cups were used to drink aqha, or maize beer, in ritual ceremonies often Cupisnique ravine located between the Jepetepeque and Chicama valleys of northern Peru. associated with agriculture. This paper examines the imagery on a previously unpublished The Cupisnique culture flourished during the Initial Period (ca. 2000-700 BCE), but most colonial Andean kero that is in the collection of the Samuel P. Harn Museum of Art. While Cupisnique-style ceramics were created between approximately 1200 and 200 BCE. These the Harn kero is from the colonial era, the imagery on it reveals a connection to the pre- artifacts are characterized by stirrup spouts, dark black or brown hues, and engraved head Hispanic past of the Inka. By examining the Harn kero and its iconography, we begin to motifs on extremely wellpolished surfaces. Previous scholars have emphasized religious better understand the larger cosmological importance of keros to the Inka, and subsequent- interpretations of these ceramics, arguing that Cupisnique head motifs depict a shaman in a ly, how the persistence of kero production during the colonial period was likely due to the trance or images of a sacrificial head. This paper argues that the engraved head motifs on kero’s status as a metaphysical link to this heritage. The Harn kero’s iconography relates to Cupisnique-style ceramics can instead be understood as emblems of cultural identity and pre-Conquest traditions and associations that were visually translated into representational socio-political power in the Cupisnique region. The head motifs function as social and polit- imagery during the colonial period. My objective is two-fold: 1) to establish Inka keros as ical markers based on the specific role that the Cupisnique valley played in regional trade. more prominent cosmological objects, both before the Conquest and during the Colonial During the Initial Horizon period, the Cupisnique region was probably a trade center period, and 2) to analyze the iconography of a specific kero in order to support that posi- that constituted a bridge between Ecuador and the northern highlands of Peru. Traders from tion. I assert that the overall cosmological meaning of the Harn kero, and likely of all Inka Ecuador brought items such as spondylus shells to the northern coast, and people from the and colonial keros, is irrevocably rooted in the Andean worldview and the Inka conception northern highlands introduced the San Pedro cactus, corn, and potatoes to this region in re- of the circle of life. turn. Since different ethnic groups mingled along the northern coast of Peru, the Cupisnique people likely felt the need to distinguish themselves and claim ownership of their land, a task that they performed in part through the language of engraved ceramic motifs.

107 108 Art of the Ancient Americas II – The Art of the Ancient Americas II – Thei Andean and Intermediate Areas Andean and Intermediate Areasi

Head Motifs on Cupisnique Style Ceramics: Emblems of Cultural Identity in Early Abstracting a Shared Aesthetic: Cajamarca Ceramics and the Intermediate Area Andean Art Jeanette Nicewinter, Ph.D. Student, Virginia Commonwealth University Yumi Park, Assistant Professor, Department of Art, Jackson State University Ceramic vessels from the pre-Hispanic Cajamarca culture, located in the north The term ―Cupisnique‖ is applied to the culture and artifacts found in the highlands of present-day Peru, depict an abstract, non-representational aesthetic that differs Cupisnique ravine located between the Jepetepeque and Chicama valleys of northern Peru. from neighboring central Andean cultures. Because of the expressive non-representational The Cupisnique culture flourished during the Initial Period (ca. 2000-700 BCE), but most aesthetic of the Cajamarca culture‘s ceramics, art-historical scholarship has argued that the Cupisnique-style ceramics were created between approximately 1200 and 200 BCE. These Cajamarca culture was only minutely involved in intellectual or economic exchange with artifacts are characterized by stirrup spouts, dark black or brown hues, and engraved head surrounding societies. In contrast, a comparison of painted open-form ceramics from the motifs on extremely wellpolished surfaces. Previous scholars have emphasized religious Late Cajamarca (c. 850- 1200 CE) and Final Cajamarca (c. 1200 – 1532 CE) periods with interpretations of these ceramics, arguing that Cupisnique head motifs depict a shaman in a analogous imagery from contemporary cultures in modern-day Ecuador, Colombia and trance or images of a sacrificial head. This paper argues that the engraved head motifs on Panama provides a reevaluation of the intellectual and aesthetic exchanges taking place dur- Cupisnique-style ceramics can instead be understood as emblems of cultural identity and ing the final portion of the pre-Inkaic period. Specifically, the style, form, and iconography socio-political power in the Cupisnique region. The head motifs function as social and polit- of ceramics from the Narino culture, whose territory straddles the present border between ical markers based on the specific role that the Cupisnique valley played in regional trade. Ecuador and Colombia, and painted vessels from the site of Sitio Conte, produced by the Cocle culture in Panama, are examined. Through the identification of specific aesthetic During the Initial Horizon period, the Cupisnique region was probably a trade center attributes, a definition of a geometric ceramic tradition that was prevalent in the Intermedi- that constituted a bridge between Ecuador and the northern highlands of Peru. Traders from ate Area and the Northern Andes is formulated. I argue that ceramics painted in the northern Ecuador brought items such as spondylus shells to the northern coast, and people from the abstract style relate directly to imagery depicted on gold plaques and pendants produced by northern highlands introduced the San Pedro cactus, corn, and potatoes to this region in re- these cultures. In conclusion, an examination of the painted ceramics from the Cajamarca, turn. Since different ethnic groups mingled along the northern coast of Peru, the Cupisnique Narino, and Cocle cultures provides a valuable reevaluation of the shared aesthetic and people likely felt the need to distinguish themselves and claim ownership of their land, a cultural similarities among northern Andean and Intermediate Area polities. task that they performed in part through the language of engraved ceramic motifs.

Art of the Ancient Americas II – Thei Islamic Art Andean and Intermediate Areasi

Abstracting a Shared Aesthetic: Cajamarca Ceramics and the Intermediate Area Tashreeh Al Ain (Anatory of the Eye): Unpublished Persian Illustrated Manuscript Dated 861AH/1451AD Jeanette Nicewinter, Ph.D. Student, Virginia Commonwealth University Hanaa M. Adly, Associate Professor, Department of Archaeology and Civilization, Faculty

of Arts, Helwan University Ceramic vessels from the pre-Hispanic Cajamarca culture, located in the north highlands of present-day Peru, depict an abstract, non-representational aesthetic that differs Tashreeh Al Ain (Anatomy of the Eye) is an original unpublished Persian illustrated from neighboring central Andean cultures. Because of the expressive non-representational manuscript, by Shams Al Din Mohamed Ibn Al-Hassan Al-Kahal, dated 861A.H/1451A.D, aesthetic of the Cajamarca culture‘s ceramics, art-historical scholarship has argued that the reserved in Qasr Al-Aini, School of Medicine, Cairo University, History of Medicine Muse- Cajamarca culture was only minutely involved in intellectual or economic exchange with um, Cairo, Egypt, MS 40, 323 folios, MS 17X11 cm. MS is embellished with seventy-four surrounding societies. In contrast, a comparison of painted open-form ceramics from the (74) fine pictures illuminated in gold, silver and colors, representing the subject of anatomy Late Cajamarca (c. 850- 1200 CE) and Final Cajamarca (c. 1200 – 1532 CE) periods with of eyes and eye diseases. MS was written in Nasta'lik handwriting in black with red titles, analogous imagery from contemporary cultures in modern-day Ecuador, Colombia and golden frames, one column on a page, from 8-11 lines in each page by Sadr Al-Din Ahmed Panama provides a reevaluation of the intellectual and aesthetic exchanges taking place dur- Ibn Mahmoud Al-Hussein, while the painter is unknown. ing the final portion of the pre-Inkaic period. Specifically, the style, form, and iconography MS is a great scientific and artistic value because it indicates the importance of the of ceramics from the Narino culture, whose territory straddles the present border between medical manuscripts in the Timurid period, especially which explain the eye diseases and Ecuador and Colombia, and painted vessels from the site of Sitio Conte, produced by the the ways of treatment. On the other hand, it refers to the care of explaining the texts and the Cocle culture in Panama, are examined. Through the identification of specific aesthetic main idea by drawing the details of the symptoms for the several diseases of eye. In addi- attributes, a definition of a geometric ceramic tradition that was prevalent in the Intermedi- tion, this manuscript refers to the constant attention of studying eye anatomy and diseases ate Area and the Northern Andes is formulated. I argue that ceramics painted in the northern which can be found throughout the rich history of Persia. abstract style relate directly to imagery depicted on gold plaques and pendants produced by We will focus our study on the following: (i) a detailed comparative study among the these cultures. In conclusion, an examination of the painted ceramics from the Cajamarca, medical manuscripts which concern about the anatomy of eye and the MS especially in Dar- Narino, and Cocle cultures provides a valuable reevaluation of the shared aesthetic and El-Kutub (The National Library) in Egypt and what do this manuscript distinguished?; (ii) cultural similarities among northern Andean and Intermediate Area polities. discussion, comparison and clarifying the long road which man has trodden in his fight against eye diseases according to the MS (iii) study and publish a group of unpublished images to examine the way for absorbing and transforming medical texts and how did the painter succeeded in explaining the main medical text?. Finally, medicine and disease have had an undeniable effect on the whole history, and the development of any civilization is measured by the development of the medical science and the ways of dealing with the several diseases in it. 109 110

Islamic Art Islamic Arti

Tashreeh Al Ain (Anatory of the Eye): Unpublished Persian Illustrated Manuscript Ali, Cem and Cemevi: the Significance of Art and Ritual in Turkish Alevi Culture Dated 861AH/1451AD Onur Öztürk, Lecturer, Columbia College, Chicago Hanaa M. Adly, Associate Professor, Department of Archaeology and Civilization, Faculty of Arts, Helwan University Tashreeh Al Ain (Anatomy of the Eye) is an original unpublished Persian illustrated Alevis form the largest religious minority group in Turkey today. Estimated around manuscript, by Shams Al Din Mohamed Ibn Al-Hassan Al-Kahal, dated 861A.H/1451A.D, ten million, roughly fifteen percent of the entire population, Alevis continue to understand reserved in Qasr Al-Aini, School of Medicine, Cairo University, History of Medicine Muse- and practice Islam significantly different than the Sunni majority in Turkey. Despite co- um, Cairo, Egypt, MS 40, 323 folios, MS 17X11 cm. MS is embellished with seventy-four existing for centuries with dominantly Sunni Muslim communities and being discriminated, (74) fine pictures illuminated in gold, silver and colors, representing the subject of anatomy alienated and even stigmatized due to their different interpretation of Islam, Alevis have of eyes and eye diseases. MS was written in Nasta'lik handwriting in black with red titles, managed to preserve their distinct cultural identity. In this paper, I will discuss how art and golden frames, one column on a page, from 8-11 lines in each page by Sadr Al-Din Ahmed ritual have continuously played a particularly critical role in this process. Turkish Alevis Ibn Mahmoud Al-Hussein, while the painter is unknown. embrace images of key figures of Alevi history and theology such as Ali or twelve Imams; MS is a great scientific and artistic value because it indicates the importance of the perform a religious ritual called cem that integrates dance (called semah), music and poetry medical manuscripts in the Timurid period, especially which explain the eye diseases and with the participation of men and women; and build cemevis, unique buildings created for the ways of treatment. On the other hand, it refers to the care of explaining the texts and the public rituals. Constantly engaging with their history and the core of their theological be- main idea by drawing the details of the symptoms for the several diseases of eye. In addi- liefs through art and ritual, Alevis continue to strengthen their sense of community. tion, this manuscript refers to the constant attention of studying eye anatomy and diseases which can be found throughout the rich history of Persia. We will focus our study on the following: (i) a detailed comparative study among the medical manuscripts which concern about the anatomy of eye and the MS especially in Dar- El-Kutub (The National Library) in Egypt and what do this manuscript distinguished?; (ii) discussion, comparison and clarifying the long road which man has trodden in his fight against eye diseases according to the MS (iii) study and publish a group of unpublished images to examine the way for absorbing and transforming medical texts and how did the painter succeeded in explaining the main medical text?. Finally, medicine and disease have had an undeniable effect on the whole history, and the development of any civilization is measured by the development of the medical science and the ways of dealing with the several diseases in it.

Islamic Arti Islamic Art

Ali, Cem and Cemevi: the Significance of Art and Ritual in Turkish Alevi Culture Props of Prestige: Postcolonial Identity in Moroccan National Museums Onur Öztürk, Lecturer, Columbia College, Chicago Ayla Amon, M.A. Candidate in Museum Studies, George Washington University

Alevis form the largest religious minority group in Turkey today. Estimated around This paper questions the role of the museum in the construction and articulation of ten million, roughly fifteen percent of the entire population, Alevis continue to understand postcolonial identity in Morocco by exploring the social, political, and museological aspects and practice Islam significantly different than the Sunni majority in Turkey. Despite co- of national museums. First, the paper examines the history of museums in Morocco and the existing for centuries with dominantly Sunni Muslim communities and being discriminated, continued presence of European museology: specifically, Western models of administration, alienated and even stigmatized due to their different interpretation of Islam, Alevis have exhibition design, and object selection. Next, it explores the implications of postcolonial managed to preserve their distinct cultural identity. In this paper, I will discuss how art and state formation and modernization on both museums and the public. This analysis contextu- ritual have continuously played a particularly critical role in this process. Turkish Alevis alizes Moroccan national museums within a larger decolonizing process following state in- embrace images of key figures of Alevi history and theology such as Ali or twelve Imams; dependence in 1956, and analyzes the resulting government view of the museum as a com- perform a religious ritual called cem that integrates dance (called semah), music and poetry modity and signifier of modernity. Then, it considers the place of objects in Moroccan con- with the participation of men and women; and build cemevis, unique buildings created for ceptions of identity and their intellectual and historical separation from the Moroccan public. public rituals. Constantly engaging with their history and the core of their theological be- In opposition to national museums, it next examines two extra-governmental establishments liefs through art and ritual, Alevis continue to strengthen their sense of community. that challenge official museum rhetoric, the Belghazi Museum and the Aït Iktel Community Museum, to explore successful methods of identity formation in Moroccan museums. Using these models, this paper ultimately contests the viability of Moroccan national museums as places for the expression of Moroccan identity, and cites philosophical underpinnings that render the national museums unable to fully participate in the public landscape or to preserve and present collective memory.

This paper relies on in-country interviews and fieldwork conducted by the author, Ministry of Culture publications, and limited existing scholarship on Moroccan museums.

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Props of Prestige: Postcolonial Identity in Moroccan National Museums Ayla Amon, M.A. Candidate in Museum Studies, George Washington University

This paper questions the role of the museum in the construction and articulation of postcolonial identity in Morocco by exploring the social, political, and museological aspects of national museums. First, the paper examines the history of museums in Morocco and the continued presence of European museology: specifically, Western models of administration, exhibition design, and object selection. Next, it explores the implications of postcolonial state formation and modernization on both museums and the public. This analysis contextu- alizes Moroccan national museums within a larger decolonizing process following state independence in 1956, and analyzes the resulting government view of the museum as a commodity and signifier of modernity. Then, it considers the place of objects in Moroccan conceptions of identity and their intellectual and historical separation from the Moroccan public. In opposition to national museums, it next examines two extra-governmental establishments that challenge official museum rhetoric, the Belghazi Museum and the Aït Iktel Community Museum, to explore successful methods of identity formation in Moroccan museums. Using these models, this paper ultimately contests the viability of Moroccan national museums as places for the expression of Moroccan identity, and cites philosophical underpinnings that render the national museums unable to fully participate in the public landscape or to preserve and present collective memory.

This paper relies on in-country interviews and fieldwork conducted by the author, Ministry of Culture publications, and limited existing scholarship on Moroccan museums.