[{"id": "contemporaneity-101", "words": "4594", "extension": ".pdf", "flesch": "68", "author": "Ogrodnik, Benjamin", "title": "Today's Cutting Edge is Tomorrow\u2019s Obsolete: An Interview with Cory Arcangel and Tina Kukielski", "date": "2014", "keywords": "cory; work", "summary": "Ogrodnik Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.101 http://contemporaneity.pitt.edu Today\u2019s Cutting Edge is Tomorrow\u2019s Obsolete An Interview with Cory Arcangel and Tina Kukielski Benjamin Ogrodnik Abstract Exhibited at the Carnegie Museum of Art, Pittsburgh from November 3, 2012 to January 27, 2013, Cory Arcangel: Masters was a wide-ranging, multi-sensory survey of the artist\u2019s major works to date. Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.101 Exhibited at the Carnegie Museum of Art, Pittsburgh, between November 3, 2012 and January 27, 2013, Cory Arcangel: Masters brought to the fore the wide range of media forms and conceptual interests that have propelled Arcangel\u2019s career.", "mime": "application/pdf"}, {"id": "contemporaneity-106", "words": "7819", "extension": ".pdf", "flesch": "48", "author": "Tello, Veronica", "title": "Counter-Memory, Heterochronia, and \u201cHistory Painting\u201d (After G\u00e9ricault): Dierk Schmidt\u2019s SIEV-X\u2014On a Case of Intensified Refugee Politics", "date": "2014", "keywords": "e r; history; image; painting; politics; r o; refugee; schmidt; siev; t e; work", "summary": "See for example: Dierk Schmidt, \u201cWhat I Am Theoretically Interested in Is the Connection between Violence, Traumatization and the Loss of Speech: Conversation with Philosopher and Journalist Carolin Emcke, Berlin, September 2004,\u201d in Schmidt, ed., In order to \u201ccome to new findings\u201d on SIEV-X, argued Schmidt, he would initiate conversations and interview personnel from the Australian 13 Lars Bang Larsen, \u201cDierk Schmidt: Packing the Hard Potatoes,\u201d Afterall 29 (Spring, 2012): 120.", "mime": "application/pdf"}, {"id": "contemporaneity-107", "words": "1837", "extension": ".pdf", "flesch": "45", "author": "Recktenwald, Olaf", "title": "Review: From Ornament to Object: Genealogies of Architectural Modernism by Alina Payne", "date": "2014", "keywords": "architectural; century; object; ornament; payne", "summary": "Her concern lies in Semper\u2019s connection between the materials of daily objects and those of architectural ornament, a relation that allows for the transference of an architectural theory to an object theory. Contemporaneity: Historical Presence in Visual Culture Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.107 http://contemporaneity.pitt.edu Review From Ornament to Object: Genealogies of Architectural Modernism by Alina Payne Olaf Recktenwald Abstract A review of Alina Payne\u2019s From Ornament to Object: Genealogies of Architectural Modernism, published in 2012 by Yale University Press.", "mime": "application/pdf"}, {"id": "contemporaneity-111", "words": "2200", "extension": ".pdf", "flesch": "51", "author": "Randolph, Kira", "title": "Vision and Desire in Postcolonial Australia: A Conversation with Alison Ravenscroft", "date": "2014", "keywords": "aboriginal; art; eye; ravenscroft; visual", "summary": "In addition to her research, Kira has taught classes in Australian, New Media, and Indigenous art. Non-Indigenous readers and viewers can find that the meanings we have always attributed to the world\u2014to country, say, or to body, to flesh and feeling\u2014are unsettled and denaturalized in our encounters with Indigenous arts.", "mime": "application/pdf"}, {"id": "contemporaneity-112", "words": "7101", "extension": ".pdf", "flesch": "53", "author": "Smith, Terry; Mathur, Saloni", "title": "Contemporary Art: World Currents in Transition Beyond Globalization", "date": "2014", "keywords": "art; contemporaneity; contemporary; culture; history; kind; n t; new; terry; world", "summary": "What about the radical deterritorialization of display, the decentering of world art, which has occurred via the biennial phenomenon all over the world? In many countries contemporary art has become an economic project that includes huge cultural districts, museums and art fairs.", "mime": "application/pdf"}, {"id": "contemporaneity-113", "words": "2415", "extension": ".pdf", "flesch": "49", "author": "Eschenburg, Madeline", "title": "Artificial Hells: A Conversation with Claire Bishop", "date": "2014", "keywords": "art; bishop; participatory; work", "summary": "In keeping with the theme of our journal, Contemporaneity, we must acknowledge that Western participatory art can only be truly explained within or against the other contexts in which participatory art emerges. More than merely descriptive, Bishop takes to task the major theorists of this topic (particularly Grant Kester and Nicolas Bourriaud) for their general failure to critique participatory art along artistic and aesthetic terms, in favor of assessing its ethical efficacy.", "mime": "application/pdf"}, {"id": "contemporaneity-114", "words": "1963", "extension": ".pdf", "flesch": "54", "author": "Gopinath, Gabrielle", "title": "Skin Deep: Surfacing with Leigh-Ann Pahapill", "date": "2014", "keywords": "culture; gallery; pahapill; surface; videos; way", "summary": "All four videos offer surface views, looped sequences shot during the show\u2019s installation process. Here, plastic sheeting proved an apt vehicle for exploring simultaneity and surface.", "mime": "application/pdf"}, {"id": "contemporaneity-116", "words": "292", "extension": ".pdf", "flesch": "28", "author": "Cymbala, Amy", "title": "Editorial Notes: Exhibition Complex: Displaying People, Identity, and Culture", "date": "2014", "keywords": "symposium", "summary": "A special thanks to all our presenters, our authors Diane Greenwold, and Winnie Tsang, and especially our distinguished keynote speaker Dr. Saloni Mathur, Associate Professor of Art History at UCLA, for all their contributions to our symposium and journal. Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.116", "mime": "application/pdf"}, {"id": "contemporaneity-119", "words": "712", "extension": ".pdf", "flesch": "40", "author": "Khoshgozaran, Gelare", "title": "Artist Statement: rial and tERROR", "date": "2014", "keywords": "rial; university", "summary": "As a result, rial and tERROR was a short film that, through the usage of found archival material\u2014pre-revolutionary Iranian TV commercials of U.S. products, Iranian 1960s Psychedelic rock music, pirated tapes of the 1980s American music videos illegally distributed in post-revolutionary Iran, home video footage, etc.\u2014created an anachronistic video collage. By way of spoonerism in the title, rial and tERROR,1 and the anachronism in the structure of this piece, I was inclined to create a shifted narrative of a generation born and raised in the contemporary Iran, post-1979 Islamic Revolution, during the Iran-Iraq War and currently living in diaspora, with regards to the notion of \u201cfun\u201d as it was presented to us through American popular culture in a country with a complicated history of former alliance and tight economic ties and current conflict with the U.S Imperialism.", "mime": "application/pdf"}, {"id": "contemporaneity-13", "words": "8363", "extension": ".pdf", "flesch": "53", "author": "Barker, Timothy", "title": "Re-Composing the Digital Present", "date": "2011", "keywords": "culture; deleuze; digital; images; memory; new; online; past; present; r e; screen; time; work", "summary": "Multi-temporal time is a scalar type of time. This is a type of memory that is expressed by Fast as a complex of relational stories across disparate geographies and scales of historical time.", "mime": "application/pdf"}, {"id": "contemporaneity-130", "words": "7338", "extension": ".pdf", "flesch": "39", "author": "Kovach, Jodi", "title": "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa\u2019s Images of Havana", "date": "2016", "keywords": "architecture; art; baroque; building; carlos; contemporary; cuba; garaicoa; havana; latin; modern; new; present; ruins; urban; world", "summary": "C opyright Carlos Garaicoa. Abstract Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana\u2019s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes.", "mime": "application/pdf"}, {"id": "contemporaneity-131", "words": "10274", "extension": ".pdf", "flesch": "56", "author": "Young, Allison K.", "title": "We Never Did Return: Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art", "date": "2015", "keywords": "africa; art; artist; contemporaneity; culture; day; e n; film; gallery; history; online; penny siopis; presence; siopis; south; time; vol", "summary": "William Humphreys Museum, Kimberly, South Africa (photo: courtesy Penny Siopis and Stevenson Gallery, Cape Town). When discussing the potential slippages between what is depicted and what is experienced, Siopis described her first encounter with this footage, noting the contradictions that arise between what you are told about yourself or your past, what you see in old photographs and 44 Penny Siopis, informal interview with the author via Skype, January 9, 2012.", "mime": "application/pdf"}, {"id": "contemporaneity-132", "words": "6966", "extension": ".pdf", "flesch": "59", "author": "Huebner, Karla", "title": "Nostalgia and La Jet\u00e9e", "date": "2015", "keywords": "bensma\u00efa; boym; experience; film; future; ibid; jet\u00e9e; la jet\u00e9e; marker; nostalgia; protagonist; time", "summary": "Owl Creek Bridge run in either direction has the \u201celusive,\u201d \u201cinsubstantial and irretrievable\u201d quality Mulvey attributes to the medium of film, but La Jet\u00e9e, though it somehow (despite its static images) shares these attributes when run normally, would be incomprehensible, not comic, run 42 Mulvey, Death 24x Microsoft Word - 95-107 Nostalgia and La Jetee 7-27.docx Vol 4, No 1 (2015) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2015.132 http://contemporaneity.pitt.edu Nostalgia and La Jet\u00e9e Karla Huebner", "mime": "application/pdf"}, {"id": "contemporaneity-141", "words": "9571", "extension": ".pdf", "flesch": "49", "author": "Shine, Tyler", "title": "Taboo Icons: The Bodily Photography of Andres Serrano", "date": "2015", "keywords": "andres; art; body; christ; contemp.2015.141; contemporaneity; culture; death; images; medieval; new; online; photographs; piss; presence; serrano; vol; york", "summary": "The committee selected ten artists, including Serrano, from a pool of five hundred ninety- nine applicants and each artist received a monetary fellowship and would participate in the 6 Mieke Bal connects Serrano\u2019s dramatic use of light to Baroque aesthetics in Quoting Caravaggio, while Amelia Arenas describes Serrano\u2019s photographs as conjuring up a Baroque theatricality for aesthetic overload in her essay \u201cThe Revelations of Andres Serrano,\u201d in Andres Serrano: Body and Soul, ed. 184. 75 See for example Michael Kimmelman, \u201cSerrano Focuses on Death,\u201d New York Times, February 5 1993, C3; Peter Schjeldahl, \u201cArt after Death,\u201d The Village Voice, February 16 1993, 91; Andrea D. Fitzpatrick, \u201cReconsidering the Dead in Andres Serrano\u2019s The Morgue: Identity, Agency, Subjectivity,\u201d Canadian Art Review (2008), 33.", "mime": "application/pdf"}, {"id": "contemporaneity-142", "words": "2238", "extension": ".pdf", "flesch": "58", "author": "Murphy, John", "title": "Exhibition Review: Regina Mamou \u201cUnfortunately, It Was Paradise\u201d Chicago, IL, City Gallery in the Historic Water Tower October 2013 - January 19, 2014", "date": "2015", "keywords": "mamou; print", "summary": "The communities photographed by Mamou share a curious afterlife as historical landmarks, tourist attractions, and perhaps, ironic evidence of utopia\u2019s inevitable failure. Microsoft Word - 213_220_Regina Mamou Exhibition 7-27.docx Vol 4, No 1 (2015) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2015.142 http://contemporaneity.pitt.edu Exhibition Review: Regina Mamou Unfortunately, It Was Paradise Chicago, IL, City Gallery in the Historic Water Tower October 2013 - January 19, 2014 John Murphy", "mime": "application/pdf"}, {"id": "contemporaneity-143", "words": "8245", "extension": ".pdf", "flesch": "47", "author": "Allen, Matthew", "title": "Compelled by the Diagram: Thinking through C. H. Waddington\u2019s Epigenetic Landscape", "date": "2015", "keywords": "biology; conrad; culture; images; l e; l l; landscape; online; vol; waddington", "summary": "As Waddington says: Figure 3 Organisers in the Chick, from Conrad H. Waddington, Organizers and Genes (Cambridge, UK: Cambridge University Press, 1940), 12 (photo: author). Richard Lewontin, a prominent twentieth-century biologist, offers this description: \u201cThe modern skeletal 5 For Waddington\u2019s bibliography, see Alan Robertson, \u201cConrad Hal Waddington.", "mime": "application/pdf"}, {"id": "contemporaneity-144", "words": "10769", "extension": ".pdf", "flesch": "50", "author": "Castillo, Greg", "title": "Spinifex People as Cold War Moderns", "date": "2015", "keywords": "aboriginal; arts; australian; cane; contemp.2015.144; contemporaneity; country; culture; desert; family; l l; land; life; online; painting; people; presence; project; r e; spinifex; spinifex people; vol; war", "summary": "In 1983, while Spinifex people were living at Cundeelee, an earlier settlement for those displaced by the Maralinga tests, an anthropologist brought a group of elders back to their ancestral lands for the first time in a generation, a trip that apparently catalyzed a renewed determination to resume custodial obligations. Like the subjects of the Chernobyl catastrophe studied by anthropologist Adriana Petryna, Spinifex people forged new individual and collective identities from their experience of displacement from \u201cpoisoned\u201d lands, struggled with insecurity and a sense of injustice, and constructed from these realities new modes of citizenship and, eventually, novel covenants with government.12 The Spinifex people\u2019s cold war diaspora became a matter of legal record in their native title claim.", "mime": "application/pdf"}, {"id": "contemporaneity-149", "words": "11819", "extension": ".pdf", "flesch": "52", "author": "Iker, Annemarie", "title": "Photographs of the \u201cDust of the Highway\u201d: Georgiana Goddard King\u2019s Way of Saint James", "date": "2016", "keywords": "art; compostela; de las; james; king; las; medieval; photographs; pilgrimage; porter; puerta; puerta de; romanesque; saint; saint james; santiago; santiago de; sculpture; way", "summary": "But if Porter came to overshadow King in her lifetime, and eventually, to eclipse her entirely, it was not always so: \u201cThe American pioneer in this r ich field was a woman,\u201d wrote Wethey, \u201cProfessor Georgiana Goddard King. 46 Mann, \u201cGeorgiana Goddard King,\u201d 113. http://contemporaneity.pitt.edu/ 4 5 A n n e m a r ie I k e r C ontemporaneity: H istorical P resence in V isual C ulture http://contemporaneity.pitt.edu V ol 5 , No 1 \u201cA gency in Motion\u201d (2016) | ISSN 2155-1162 (online) | DO I 10.5195/contemp.2016.149 contributions to medievalism, however, many historiographies of the field omit King altogether, focusing instead on luminaries like Arthur Kingsley Porter, his French sparring partner Emile M\u00e2le, and his students Kenneth Conant and Walter Muir Whitehill.47 According to Janice Mann, one of the few art historians to offer a critical reappraisal of King in the twenty-first century, \u201cKing and her work have all but vanished from current scholarly memory.", "mime": "application/pdf"}, {"id": "contemporaneity-150", "words": "4633", "extension": ".pdf", "flesch": "43", "author": "Jagoda, Patrick", "title": "Network Ambivalence", "date": "2015", "keywords": "aesthetics; ambivalence; culture; form; game; media; networks; new; online; presence; present; university", "summary": "People may want to withdraw from a culture of publicized narcissism; combat their addictions to the high of instant gratification that comes with likes, upvotes, comments, and check-ins; minimize the loneliness, alienation, or envy associated with social comparison on such networks; eliminate the affective uncertainties associated with posts that arrive on one\u2019s stream or wall according to an unknown logic of proprietary algorithms; challenge the threat of corporate surveillance that undermines any semblance of privacy; resist fantasies of political participation that alleviate guilt through low-touch interactions with questionable efficacy; and so on.13 Network form, in its role as our current cultural dominant, makes scarcely imaginable the possibility of an alternative or an outside uninflected by networks.", "mime": "application/pdf"}, {"id": "contemporaneity-151", "words": "9835", "extension": ".pdf", "flesch": "64", "author": "Scalissi, Nicole; Langmead, Alison; Smith, Terry; Byers, Dan; Morton, Cynthia", "title": "Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014", "date": "2015", "keywords": "art; c t; o r; t o", "summary": "Dan Byers (DB): The research component in my job, in relation to what we talked about, is thinking about contemporary art in relationship to the museum\u2019s collection, its programming, its history, and its relationship to other institutions and fields of art history, curatorial practice, and what artists are doing. Still, we try to look at our permanent collection as a living collection, one that is contingent and subjective, and displayed in various ways, depending on either my subjective approach as the curator or from a revisionist approach to art history.", "mime": "application/pdf"}, {"id": "contemporaneity-152", "words": "2689", "extension": ".pdf", "flesch": "50", "author": "Langmead, Alison; Byers, Dan; Morton, Cynthia", "title": "Curatorial Practice as Production of Visual and Spatial Knowledge: Panelists Respond", "date": "2015", "keywords": "art; museum", "summary": "And more and more, I believe art museums should also support their curators in this way. But as the emphasis is placed on spectacle, and on audience development, engagement, and participation, (all concepts which are very easily bastardized today towards lowest common denominator ends), art museums could benefit from curators who have also spent long years in conversation with artists and researching in private.", "mime": "application/pdf"}, {"id": "contemporaneity-153", "words": "989", "extension": ".pdf", "flesch": "53", "author": "Minglu, Gao", "title": "Foreword ??", "date": "2015", "keywords": "art; \ufffd \ufffd", "summary": "2014 .'*\ufffd;Y\ufffd OK<WMadeline EschenburgX # WEllen LarsonX%\ufffd\ufffd \ufffd\ufffd2(1\ufffd , Antonie Angerer # \u201c\ufffd\ufffd \u201dD , \u201c\ufffd\ufffd \u201dDR@\ufffd=K$,D\ufffd\ufffd 1 \ufffd\ufffdS \u201d:\ufffd, \ufffd \ufffd\ufffd0\ufffd The second issue is Chinese feminist art.", "mime": "application/pdf"}, {"id": "contemporaneity-154", "words": "5275", "extension": ".pdf", "flesch": "58", "author": "Eschenburg, Madeline; Larson, Ellen", "title": "Thoughts & Things 01 ????", "date": "2015", "keywords": "> \ufffd; art; artists; beijing; china; contemporary; culture; ellen; history; rt \ufffd; \u00b4 \ufffd; \u0119\u01fb \ufffd; \u017f\u01d2 \ufffd; \u01df\u0151 \ufffd; \u0269 \ufffd; \ufffd >; \ufffd madeline; \ufffd \u00b4\u0101; \ufffd \u0119; \ufffd \u011d; \ufffd \u01fb; \ufffd \u022f; \ufffd \ufffd", "summary": "Madeline >\ufffd\ufffd\ufffd Hey Ellen\u00fb \ufffd R\u00ee\ufffdH\u00a4\ufffd\u00e6 Rt\ufffd\u01df\u0150\u0196\u01a2\u0141\ufffd\u014a\u021d\u0196\u01f3\u01f5\ufffd)\u00d4\ufffd\ufffd\u0118\u0141:\ufffd\ufffd\u0199\u00dc\ufffd\ufffd\u0196\u01f6\u00f9\u0154\u019f\u01ab\u0196 \ufffd\u0118\u0149q\u00dc\ufffd\u00b4\ufffd\ufffd\u0138\ufffd\u0199_\u0196\u011c\u014aJD\u023f\u0177\u01db\ufffd\u00b4\u0101<\u01df\u0150\ufffd)\u00d4\ufffd\ufffd t\ufffd\ufffd8\u01a1\u00bf\u00d0H\u0140\ufffd\u0118\ufffd\u014f\u0141 \u0111\u00d0&\u0113\u00c6r\u0138\u01df\u00c2`\u01df\u0150\ufffdG\u023d\u0140\u0118\ufffd'\ufffd\u01e0\ufffd\u00b4\u0101<\u01df\u0150\ufffd\u00e3\u01eea\u00a5\u00fd\u00f4f\u00d3=\u0164\ufffd\u0118\u0168\ufffd\u0202\u0138\u0196\ufffd\u0259 \ufffd\u00f3\u0140U\ufffd\u0118\u00dc+\ufffd\u00b4\u0138\ufffd\u0196'\u01f7\u0226\ufffd\u014a\u024f\ufffd=\u01dc+\u0101\u0140\u0118\u00f4\ufffd\u01a2\u00d3\u01db\u00eb\u0141\u00a1\u0146\u01f7'\u0118\u0196\u011c\u01f1\u011c\u024a\ufffdG\u023d\u01a2 \u0141\ufffd\u0106_\u0246\u0196m\\\u017d\ufffd:\u023d=\ufffd\u021a\u0118\u01c8\u01c9\u00d0&\ufffd\u00b4\u0196\ufffd\ufffd\ufffd\u0138\ufffd\u00aa\u020d\u01f9\ufffd\u01db 2010 m K\ufffd\u01c2\u00f1\u00b0t\ufffd2\ufffd \u0229\u0224#\u0249\u0118\u0114\u01f5\u01db\u00eb\u00dc\u022f\u0242\u0196\u0101<\u01df\u01500\u018d'\u0147\u0173\u0196^\u025c\ufffd \ufffd\u0201\u0163\u0141\u00b1\ufffd\u0118\u012d\u01f8\u022f\ufffd\u0257\u00bc\u0167\u0226\u0142\u00a2\ufffd\u013e\u016c\u018b\u01f7\u019cv\u0196\ufffd\u00b4\u01df\u0150\u0196\u00b9\u01439\ufffd\ufffd\u00b7\u0198 \u01d1\u01897%\u013e\u016c\u00d2 ]\u023c[\u022f\u01a7\u0110g \ufffd\u0220\u0138\ufffd#\u0249\u0113\u010c\u0196\u01ec\u022a\u01fd\u0118\u019d\u0233\ufffd\ufffd?\u01df\u0150\u00ab\u011cE\u022a\u0196\u0113\u010c\u0141\u00cbK\u00b7\ufffd\ufffd\u0196\u00e8\u01f4\u01d6\u0143\ufffd \u0224\u012a\ufffd\u022f?\u01df\u0150\u00ab\u00b7\ufffd\ufffd\u01f2B\u0196\u019c\ufffd\ufffd\ufffdD\u00b1\ufffd\u022f.\u01f2B\u0196\u0136\u01d5\u0138\ufffd\u01d6\u0143\u01d1\u01ee\u020b\u0241\ufffd\ufffd\ufffd\u0196\u00d3\ufffdL\ufffd\ufffd\ufffd \u01a5\u0227\u00aa\u0182\u0227\u01a9\u0169t\u01cd\u00b4\ufffd\u00f4\ufffd\u014a\u00f5\u00c4\u0162j\u00be\u013c\u0176\u018c\u01dc\u00f1I\ufffd\u0118\u0252=\u018e\u00b8\u00bc\u0196\u0191\u024f\u0154\u00d3\u0118\u0141\u0211\ufffdG\u0141\ufffd\u0118\u0192 \u0113t\u2014\u2014Q\ufffd\ufffd\u00b4\u0196\ufffd\ufffd\u0177\u0231\u0170\u0247\ufffd\u00d8\u013d\u0196\u015e\u0177\ufffd=\u00b7\ufffd\ufffd\ufffd\u00b8\u013b\u0234\u0178t\ufffdi\ufffd\ufffd\u01bb\ufffd\u01d1\u0106\u00c4\ufffd\u00b4\u01df\u0150\u00d8\u00aa \u0204\u0202\u00d8\u0196L\u00ab\u023f\u0141\u0173\ufffd\u022f\u01a7E\u01c7\u0103\u00ac\ufffd\ufffd\u0164\ufffd\u0140\ufffd\u01c3\ufffd'\u013e\u0137\u0101\u00b8\u00aa]\u018a\ufffdek\u01d10\u018d\u0196Z\u01b8\ufffdp\u00fa\u201c\u00d6T\u201d \ufffdj\u00a1gp\ufffd\ufffd2\ufffd\u00eb\ufffd;\ufffd\u00b4n\u01fc\u0202\u201cE\u01c7\u201d\u022f\ufffd\u0160\u0109\u0196\u00dc\u0209\ufffd\ufffd\u015d\u00b8\ufffd\u0118%\u0106\u0111'\u01f7\u201cE\u01c7\u201d t\ufffd/\u00c0; Ellen \ufffd\ufffd\ufffd>\ufffd\ufffd Madeline, \u00dc\ufffd\u022f\ufffdu\u00e9z\u01ca\u0196\u0185\u0228\u00fb\ufffd}\ufffd>\u00f8\u020c\u00d4x\ufffd\u01c1\ufffd\ufffd\ufffd>\u0141\u0211\ufffd\ufffd>\ufffd\u01db\u00aa^\ufffd\u00dc+\u022f\ufffd\ufffd\u00d6\u0196\u0198\u015c B\u01c5\u00dc\u013b\u0196\u0248\u0259\ufffdS\u022f\ufffd/\u0170\u0196\u022b\u00d3 \u00fb\ufffdj\u00a1\u01b3\ufffd\u024c\u0232\u0118>\u00dc+\u01ac\u00b8\u022f\ufffd\u0160\u0109\u0196\u018b\u01f7=\ufffd\u022f\ufffd\u0160\u0109\u00aaa ;\u00d0\u0150\u0257\u00bc\u0196_\u01b7\ufffd\u022e\u00a0 Rt\ufffd\u01df\u0150\u0191d\u023e\u021b\u0154\u021b\u01b9a\u00c7\u01d4\u00d9\ufffd \u01e9\u00ba\ufffd>\u022b\ufffd\u014a\u01e7\ufffd\ufffd\u0196\u0135)\ufffdG\u0101\ufffd\u0118>\u023f\u00b7\ufffd2\u00d0&N\u00c3\u00b3\u00fb1\ufffd\u022f\ufffd\u0185s\u00c7&\u025b\ufffd\u022f\u0165\u01c2\ufffd\ufffd6 \u01fd\u0118>\u0147\u0173u\u00b8\u018b\u01f7\ufffd\u00b4\u020d\u00e8\u00fb\ufffd\ufffd=\ufffd\u0138\ufffd\ufffd\u0147\u01fd\u0118>3\u0223JD\ufffd\u00b4\u01df\u0150\u00aa\u01a4D\u0189\u00be\ufffd Thoughts & Things 01\ufffd\ufffd\ufffd\ufffd Madeline Eschenburg and Ellen Larson 1 7 0 T h", "mime": "application/pdf"}, {"id": "contemporaneity-155", "words": "5839", "extension": ".pdf", "flesch": "84", "author": "Minglu, Gao; Eschenburg, Madeline; Larson, Ellen; Li Hui, Dong", "title": "The Round Table 02 ??: A Conversation with the No Name Painting Group", "date": "2015", "keywords": "art; painting; time", "summary": "But if you want to talk about the difference between \u753b\u753b (paint painting) and \u753b\u5bb6 (painter), artists are really annoying, but \u753b \u753b (paint painting) is good. One of No Name Painting Group\u2019s teaching figures talked about \u753b\u753b\u513f (paint painting) adding that Beijing \u201cer\u201d (\u513f) sound.", "mime": "application/pdf"}, {"id": "contemporaneity-156", "words": "5646", "extension": ".pdf", "flesch": "68", "author": "Eschenburg, Madeline", "title": "Thoughts & Things 02 ????", "date": "2015", "keywords": "art; art world; artists; china; contemporary; d \ufffd; experience; female; field; gender; professional; women; work; world; \u01e9 \ufffd; \ufffd contemporaneity; \ufffd feminism; \ufffd \u00fd; \ufffd \u0109; \ufffd \ufffd", "summary": "\ufffd\ufffd\u00b8D\ufffd\u0104[[>\ufffd\u00dd\u00f4L?dl(\u0207\u016ff\u01aa \u0138\u00e7\ufffd\u0211\u016c\u01baa\ufffd\u00a5#i\u0109\u00a5u/\u016e798 \u01aa\u0138v \u0132,\ufffd\ufffd\u016a\u00e7\u00d6E \u01e7\u0132\u0178\u0180\ufffd\u00a1\u00ee7\u01aa\u0138\u016e\u0193\u0212\ufffd\u0109 \u00ddK \ufffd\u0121 Anna Eschbach, Q\ufffd\u0114\u01bb\ufffd\ufffd\ufffd, \u00a5\u00a1Z\u00b3\u00da\u00a8\u0150\u0132\u0181\u01ff\u016e\u01aa\u0138\u00ef\u00ea \u01aa\u0138\u00cc\ufffd\u01aa\u0138\ufffd\ufffd\u0118H\ufffd\ufffd\u00df\ufffd\u012bw`\u01f9\u01b2\u016e\ufffd 2. \u00e3\u01cb\ufffd5 \ufffdL\u00dd \u0101\ufffd\u00df\u01e8 \u01fe\u020e\ufffd\u00e8\ufffd\u0121\ufffd\u01bb\ufffd\u01aa\u0138d&\u00dd\u00e8\ufffd\u00c4\u00b2\u011b{ \ufffd\ufffd\u00dd\u0121\ufffd\ufffd[d&\u00ab\u011c\ufffd tI\u00f5\u00a2\u0119`\u00d9\u00dd\ufffd\u00f8\ufffdSQ\u0117_\ufffd\u0121\u01c9\u00a2,6Bd\ufffd&RQ\u00d3\u0110\u00dd\u01aa\u0138\u01cc\u0102\ufffd\u00e8\ufffd\u0121\u01aa\u0138\u00d9\u0116&\ufffdd\u01aa\u0138 l{{\u00b7\u00ff\ufffd\u00da\u00dd\ufffd\u01b7\ufffd\u01aa\u0138\u00d9\u00dd \u0100\u0101\u00f9\u0123\u00eau\ufffd\ufffd\u01c5\u01c2lQ\u01aa\u0138\u018e\u0190\u00f1\u0121b\u01137\u00b2\u00d7\ufffd\u0124d\ufffd\u00b7\u0101\u00f9\u00dd \ufffdr\ufffd\u01aa\u0138\u00d9\ufffd\u00da\ufffdd\ufffd\u0101\u00f9\u00dd\u00dc7\u00c5\ufffd\u01c1a\ufffd3\ufffd\ufffd\ufffd\u00a2\u00aad\ufffd\u01aa\u0138l\u0121H\u00b2\u00c8\u00b7\u00f6\u01b7\ufffd\u01c68\u01e8\u00e4\u00d7d\u00c5 (\ufffd~\u00fd\u00dd\u0162\u00c9\u0121X\u00c3\u00c8\u00b7 p,6\ufffd\ufffd\ufffd\u0100\u00dd\u00fcp\ufffd\ufffd\u00f6ws{{\u00b2\u201c U\ufffd\u00ddd\ufffd\u201d ][j\u0138\u01c2\u00ab\u0116\ufffd\u00ef u\u0116\u0121\u00ff\u01b4\ufffdE\u01fe\u201c \ufffd\ufffd\ufffdH\u00b7'\ufffd d\ufffd\u201d \u0125\ufffd9\ufffd\u01fc\u01b3\u00fb\u00dd\u00a4\u01fe\u0121\ufffd\u01bd\ufffd\ufffd\u0162\u201c U\ufffd\u201d \ufffd\u00f1\u201c r\u00a8\u201d \u00dd \ufffd\u00c9\ufffd \u00e8\ufffd\u0121s\ufffd\u01b4o%!\u0121\u011c\u00ce\u00d5\u020d\ufffd\ufffdgo\u0121d\ufffd\u00b5m\u00b1\u010cA\ufffd\u00a6\ufffd\ufffd\u015e\u00d0\u00f6\ufffd\u0121\u01e8\ufffd\u010e\ufffd\ufffdd\ufffd \u01aa\u0138l9\u00e5r\ufffd\u00cac\u00dd\u0162\u0103\u0121\u00ce\u00d4\ufffd\ufffd\ufffd\u00ed\ufffd\u00aa\u00a0\ufffd\ufffdQ=\ufffd\u00de:\u0121\ufffd\u00b2\ufffdg\u00d1\u00cc\ufffd\u00dd\ufffd \ufffd\u00cc\ufffd\u00e8W\u0121 \u01aa\u0138lv&\u0128\ufffd\ufffd\u0114\ufffdy\u00d3Q\u00e3n\u0121\u00d1g\u00b2\ufffd\ufffd\u00d3\u00f6\u00ad\u00fc\ufffd\u011b\u0128\u0121\ufffd\ufffd\u0162&\ufffd\ufffd$d\ufffd\u0121\u00b52\u00b7<\u0105\ufffd\ufffd\ufffd DV\u00bb\u00c9\u00ddd\ufffd\u0121\u011e.\ufffd!\u00ce\u00ac\ufffd.\u00d6}\u010c\ufffd\u0121\ufffd\ufffd\u00b5m\u00b1\u01d7\ufffd\u0107\ufffd\u00dd\u00a5\u00a0Qz<\u0121\u00b5m\u00b1\ufffd\u00e7\u0204\ufffd\u0102> \u00ddV\ufffdQDe\u0121\ufffd\u00f2)\ufffd\ufffd\u011b\u0121\u00d1g\u00b2\u00ce\ufffd\ufffd\ufffd\u00a7\ufffd\ufffd\u00dd \u020e\ufffd\u01e4\u0107\ufffd\u00dd\ufffd\ufffd\u00d24\ufffd 3.", "mime": "application/pdf"}, {"id": "contemporaneity-157", "words": "2465", "extension": ".pdf", "flesch": "76", "author": "Eschenburg, Madeline; Larson, Ellen", "title": "The Round Table 03 ??: A Conversation with Xu Bing", "date": "2015", "keywords": "people; time", "summary": "Therefore, Chinese young people are able to see things within a much wider span. I think Chinese young people are very thoughtful, actually.", "mime": "application/pdf"}, {"id": "contemporaneity-158", "words": "2052", "extension": ".pdf", "flesch": "46", "author": "Tyquiengco, Marina", "title": "Decoding Double Desire: A Conversation with Ian McLean", "date": "2015", "keywords": "art; contemporary; desire; mclean", "summary": "For this reason, the definition of what comprises Indigenous contemporary art is still wide open, especially since curators of Indigenous art (who generally are Indigenous) tend to define any Indigenous art as contemporary. To make this point I tend to use the term \u201cIndigenous contemporary art\u201d (i.e. Indigenous art that aims to be part of this discourse of contemporary art), rather than the more usual expression \u201ccontemporary Indigenous art.\u201d", "mime": "application/pdf"}, {"id": "contemporaneity-161", "words": "10185", "extension": ".pdf", "flesch": "40", "author": "Kafer, Gary", "title": "Documenting the Invisible: Political Agency in Trevor Paglen\u2019s Limit Telephotography", "date": "2016", "keywords": "art; geography; images; limit; military; motion; new; paglen; politics; practice; production; sites; space; surveillance; telephotography; work; world", "summary": "Certainly such black sites are present as actual locations, yet they are simultaneously absent from official forms of documentation and public discourse, thus forming what Paglen terms in the title of his 2009 book \u201cblank spots on the map.\u201d16 Rather, Paglen asserts that the political agency of his can be located not in the image, but in the practice of performing limit telephotography\u2014standing on public land and excercising the right to photograph.", "mime": "application/pdf"}, {"id": "contemporaneity-170", "words": "10286", "extension": ".pdf", "flesch": "54", "author": "Hawley, Elizabeth S", "title": "James Luna and the Paradoxically Present Vanishing Indian", "date": "2016", "keywords": "american; curtis; e l; e s; gency; indian; luna; museum; n c; n d; native; performance; photographs; picture; real", "summary": "Nearly a century later contemporary Luise\u00f1o performance artist James Luna used the occasion of Columbus Day to stage a work that indeed proved DeCora\u2019s prediction of the endurance of what she termed \u201cIndian art\u201d prescient, albeit in a postmodern, parody -laced manner that continued to incorporate the native dress DeCora already assumed anachronistic. | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2016.170 http://contemporaneity.pitt.edu James Luna and the Paradoxically Present Vanishing Indian Elizabeth S. Hawley Abstract James Luna\u2019s performances interrogate how representations of Native Americans have been made to fit western assumptions about the \u201creal Indian.\u201d", "mime": "application/pdf"}, {"id": "contemporaneity-176", "words": "3163", "extension": ".pdf", "flesch": "59", "author": "Ramirez, Loretta", "title": "David Lamelas\u2019s The Desert People: An Odyssey for Authentic Representation", "date": "2016", "keywords": "desert; film; lamelas; people; time", "summary": "C opyright David Lamelas, images courtesy of Maccarone, Spr\u00fcth Magers, and Jan Mot. C opyright David Lamelas, images courtesy of Maccarone, Spr\u00fcth Magers, and Jan Mot.", "mime": "application/pdf"}, {"id": "contemporaneity-177", "words": "2862", "extension": ".pdf", "flesch": "33", "author": "Kong, Carlos", "title": "SuperQueeroes \u2013 Our LGBTI* Comic Book Heroes and Heroines Schwules Museum*, January 22-June 26, 2016", "date": "2016", "keywords": "book; comics; exhibition; gay; lgbti; mainstream; politics; queer; superqueeroes", "summary": "Despite the American (US) focus of this narrative, the historical framework of the late 1960s through the present productively structures SuperQueeroes without feeling reductive or prescriptive, since the exhibition is grouped around various themes\u2014independent queer comics from the United States, independent queer comics from Europe, mainstream comics, everyday heroes, the comics author as hero, queer approaches to comics genres (cowboys, cops, adventurers), comics and AIDS, and the censorship of comics.4 4 SuperQueeroes also inc ludes a small section on Tom of Finland (Touko Laaksonen), whose pre- and pos t-Stonewall homoerotic drawings influenced the exhibition\u2019s post-Stonewall comics artists. Northstar\u2019s story, among others, reflects the departure of mainstream comics from their heteronormative industrial moorings, as well as productively expands the sphere of representations rendered legitimate, both within and beyond comics.", "mime": "application/pdf"}, {"id": "contemporaneity-182", "words": "3634", "extension": ".pdf", "flesch": "37", "author": "Peters, Erin A", "title": "Curator\u2014Curatorial Studies Towards Co-creation and Multiple Agencies", "date": "2016", "keywords": "agency; art; curator; museum; practice; space", "summary": "My academic training in Egyptology, art history, museum studies, and museum practice as a fellow in the Department of Egyptian Art at the Metropolitan Museum of Art prepared me to be a curator of material culture from Egypt as a specialist in which exhibit-making is one part of the job, on equal footing with carrying out an active research agenda as a steward of 1 The C arnegie Museums of P ittsburgh is comprised of four dis tinct museums: C arnegie Museum of A rt, C arnegie Museum of Natural H istory, C arnegie Science Center, and T he A ndy Warhol Museum. For this task, museum studies\u2014a fast developing f ie ld of study that looks at the whole of the museum profession, from daily tasks to the overarching theoretica l principles of museum practice and operation in and relation to society\u2014can be useful.", "mime": "application/pdf"}, {"id": "contemporaneity-183", "words": "5997", "extension": ".pdf", "flesch": "61", "author": "Gilchrist, Stephen; Skerritt, Henry", "title": "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt", "date": "2016", "keywords": "art; n d; objects", "summary": "Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to \u201cindigenize\u201d their institutions. Henry F. Skerritt is curator of Indigenous art of Australia at the Kluge-Ruhe Aborigina l Art Collection, University of Virginia.", "mime": "application/pdf"}, {"id": "contemporaneity-184", "words": "13061", "extension": ".pdf", "flesch": "48", "author": "Nordgaard, Ingrid", "title": "Documenting/Performing the Vulnerable Body: Pain and Agency in Works by Boris Mikhailov and Petr Pavlensky", "date": "2016", "keywords": "actions; art; artist; body; boris; c ontemporaneity; case; contemp.2016.184; gency; history; http://contemporaneity.pitt.edu v; images; mikhailov; motion; online; pain; pavlensky; performance; photographic; resence; russian; sontag; ulture", "summary": "42 Marc Bennetts, \u201cA c ts of Res istance: P yotr P avlensky on P erformance A rt as P rotest,\u201d the Calvert Journal, December 1 , 2014, http://calvertjournal.com/articles/show/3373/pavlensky-performance-art- protes t. 43 Several commentators have connected Pavlensky to the figure of the Holy Fool (\u044e\u0440\u043e\u0434\u0438\u0432\u044b\u0439). P erformance action with photographic documentation, Moscow, Russ ia.", "mime": "application/pdf"}, {"id": "contemporaneity-185", "words": "70067", "extension": ".pdf", "flesch": "49", "author": "Scalissi, Nicole F.; Johnson, Annika", "title": "Agency in Motion: Editorial Statement", "date": "2016", "keywords": "american; architecture; art; art history; artist; baroque; body; c ambridge; c h; c ontemporaneity; c opyright; c u; case; comics; contemporary; cultural; documentary; e c; e r; e s; e v; exhibition; figure; g r; garaicoa; gency; h e; h o; h r; history; http://contemporaneity.pitt.edu v; images; indian; james; journal; k e; king; l c; l e; lamelas; limit; luna; m c; m e; mikhailov; motion; museum; n c; n d; n e; n n; native; new; objects; online; p avlensky; p erformance; p h; p ittsburgh; p r; p ress; paglen; pain; pavlensky; people; performance; photographs; picture; pilgrimage; politics; porter; practice; present; production; public; puerta; r c; rd c; real; resence; romanesque; s c; s t; saint; santiago; sculpture; space; t c; t v; telephotography; think; time; ulture; university; way; work; world; y c; y p; york", "summary": "Interpreting a Half C entury of Revolution and Res istance, P art 2 ,\u201d special is sue, Latin American Perspectives 36 , no. 2 (March 2009): 114-127. Image C ourtesy Harvard A rt Museums, \u00a9 P res ident and Fellows of Harvard C ollege.", "mime": "application/pdf"}, {"id": "contemporaneity-186", "words": "8169", "extension": ".pdf", "flesch": "44", "author": "Ozga, Kasia", "title": "The Internal Frontier: How Art at Once Problematizes Borders and Draws us Closer to Them", "date": "2017", "keywords": "border; boundless; contemp.2017.186; contemporaneity; culture; frontier; http://contemporaneity.pitt.edu/; identity; images; online; ozga; polish; presence; rays; time; united; vol; world", "summary": "Borders are instruments of possession: those with power over an area decide where to establish borders and how to enforce them. In the context of an increasingly polarized political climate, Ozga examines borders as individual experiences and geopolitical phenomena to explain how art conditions conflictual aspects of the self to coexist, promoting social consciousness and community engagement.", "mime": "application/pdf"}, {"id": "contemporaneity-20", "words": "10111", "extension": ".pdf", "flesch": "55", "author": "Buhe, Elizabeth", "title": "Waiting for Art: The Experience of Real Time in Sculpture", "date": "2011", "keywords": "anxiety; art; beholder; culture; duration; experience; kapoor; object; presence; sculpture; space; time; time sculpture; viewer; waiting; work", "summary": "This anxiety arises from a realization of the collision of human time and object time, and only in time sculpture does it have the capacity to shift the viewer\u2019s state of awareness to one of such enhanced perception. Time sculpture constructs the parameters through which the viewer must wait, through which the viewer sees and feels the presentness of real time on the object\u2019s terms.", "mime": "application/pdf"}, {"id": "contemporaneity-206", "words": "9924", "extension": ".pdf", "flesch": "52", "author": "Wilhelm, Thorsten", "title": "Historical Contemporaneity and Contemporaneous Historicity: Creation of Meaning and Identity in Postwar Trauma Narratives", "date": "2017", "keywords": "alexander; contemporaneity; generation; holocaust; identity; individual; memories; memory; narrative; new; o r; past; present; trauma", "summary": "Apart from this, his interest in nineteenth-century literature has him working on bibliographical histories of engravings for the novels of Charles Dickens. http://contemporaneity.pitt.edu/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 6, No 1 \u201cBoundless\u201d (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.206 Generational Trauma Like other narratives, trauma narratives follow a process of \u201ccoding, weighting, and narrating,\u201d1 constituting a co(n)temporaneous past that exceeds the bare facts. | DOI 10.5195/contemp.2017.206 Wiesel\u2019s Night and the implications of his \u201cvow\u201d deserve reevaluation considering intergenerational trauma narratives, especially since Wiesel claims that his work is born from silence.", "mime": "application/pdf"}, {"id": "contemporaneity-215", "words": "681", "extension": ".pdf", "flesch": "36", "author": "Lambright, Julia", "title": "SYNAXIS", "date": "2017", "keywords": "culture; lambright", "summary": "Her work can be found at http://www.julialambright.com/ Currently, Lambright is a visiting lecturer at the University of New Mexico, Valencia Campus, Department of Business, Technology, and Fine Arts. http://contemporaneity.pitt.edu/ http://www.julialambright.com/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 6, No 1 \u201cBoundless\u201d (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.215 Having emigrated from Russia to the United States in 2003, I recognized new possibilities for myself while strengthening my connection to American culture. While searching for a personal spiritual experience, Lambright began exploring iconographic canons, formulas, and techniques of seventeenth-century icon painting.", "mime": "application/pdf"}, {"id": "contemporaneity-22", "words": "7561", "extension": ".pdf", "flesch": "48", "author": "Chung, Hye Jean", "title": "Cinema as Archeology: The Acousm\u00eatre and the Multiple Layering of Temporality and Spatiality", "date": "2011", "keywords": "acousm\u00eatre; cinema; film; image; past; power; presence; present; sound; time; visual; voice", "summary": "Her image is always several temporal layers removed from the present, as it is mediated through the photographer\u2019s video camera or the filmmaker\u2019s movie camera.27 The conflict between the photographer and his wife \u2013 in their personal relationship as a married couple and in their national identification with Armenia \u2013 is expressed by the constant temporal and spatial disjunctions between sound and image; throughout the film, multiple layers of asynchronized sound images and visual images separate the two. In contrast to Y tu mam\u00e1 tambi\u00e9n, where the plurality of temporal and spatial strata functions as an empowering, inclusive narrative device, the overwhelming layers of mediation \u2013 still photographs, video footage, and film images \u2013 in Calendar immobilize the characters, thus implying that the distance between the two cannot be bridged.", "mime": "application/pdf"}, {"id": "contemporaneity-220", "words": "3047", "extension": ".pdf", "flesch": "37", "author": "Langmead, Alison; Pardo Gaviria, Paulina", "title": "Data (after)Lives at the University of Pittsburgh: A Constellations Exhibition in the University Art Gallery", "date": "2017", "keywords": "after)lives; art; data; medida; parente; pittsburgh; university", "summary": "Examining the development of contemporary art from Brazil, her dissertation project is the first monographic approach to the work of Brazilian artist Let\u00edcia Parente (1930-1991). http://contemporaneity.pitt.edu/ https://haa.pitt.edu/visual-media-workshop http://uag.pitt.edu/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 6, No 1 \u201cBoundless\u201d (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.220 Lead Curator\u2019s Statement The ideas for Data (after)Lives grew out of\u2014and well beyond\u2014conversations surrounding the Visual Media Workshop's Digital Humanities project Decomposing Bodies (http://sites.haa.pitt.edu/db). She quickly found that the material she was preparing on Let\u00edcia Parente for her comprehensive examinations perfectly suited the themes and concepts behind the show.", "mime": "application/pdf"}, {"id": "contemporaneity-221", "words": "7594", "extension": ".pdf", "flesch": "64", "author": "Miramontes Olivas, Adriana; de Dios Mora, Juan; Caplow, Deborah", "title": "\u00c9xodo a la \u201ctierra prometida\u201d: Del demonio y otros monstruos en la obra de Juan de Dios Mora", "date": "2017", "keywords": "amo; arte; boundless; como; con; contemp.2017.221; contemporaneity; cuando; culture; del; dios; emigrante; eso; estados; est\u00e1; forma; frontera; gente; grabados; hay; http://contemporaneity.pitt.edu/; inmigrantes; jdm; juan; las; los; mora; muchas; muy; m\u00e1s; m\u00e9xico; nosotros; obra; online; pap\u00e1; para; pero; por; porque; presence; que; qu\u00e9; son; sus; tambi\u00e9n; tiene; una; unidos; vol", "summary": "Esto los lleva a zonas peligrosas como los desiertos del sur de Arizona.4 En consecuencia, esto ha incrementado los riesgos asociados con el cruce de la frontera y, aunque el n\u00famero de muertes en la frontera E.U.-M\u00e9xico es desconocido, las estad\u00edsticas de la Patrulla Fronteriza demuestran que, del 1\u00ba de octubre de 1997 al 30 de septiembre de 2013, hubo m\u00e1s de 6029 muertos.5 En tu grabado Rapto del emigrante vemos el paisaje dividido en dos por un camino. Complet\u00f3 su licenciatura en la Universidad de Texas de El Paso y la maestr\u00eda en la Universidad de Texas de San Antonio.", "mime": "application/pdf"}, {"id": "contemporaneity-222", "words": "7351", "extension": ".pdf", "flesch": "68", "author": "Miramontes Olivas, Adriana; de Dios Mora, Juan; Caplow, Deborah", "title": "Exodus to the \u201cPromised Land:\u201d Of the Devil and Other Monsters in Juan de Dios Mora\u2019s Artworks", "date": "2017", "keywords": "amo; border; culture; immigrant; mexico; mora; people; states; united", "summary": "Thus, all of these problems created an impact on me and I tried to compare my own life with that of other immigrants, and it is very different. AMO: The United States is considered by many immigrants to be the promised land.", "mime": "application/pdf"}, {"id": "contemporaneity-223", "words": "645", "extension": ".pdf", "flesch": "43", "author": "Pabst, Daniel; Di Cicco, Rae", "title": "Untitled (Architectural Photography)", "date": "2017", "keywords": "boundless; daniel; pabst", "summary": "Rae Di Cicco Figure 1 Daniel Pabst, Pulkovo Airport (Saint Petersburg), 2015, digital photograph. | DOI 10.5195/contemp.2017.223 Figure 2 Daniel Pabst, Gables Republic Tower Dallas, 2016, digital photograph.", "mime": "application/pdf"}, {"id": "contemporaneity-226", "words": "2539", "extension": ".pdf", "flesch": "43", "author": "Scalissi, Nicole F.", "title": "Firelei B\u00e1ez: Bloodlines: The Andy Warhol Museum, February 17 \u2013 May 21, 2017", "date": "2017", "keywords": "andy; bloodlines; b\u00e1ez; color; firelei; museum; warhol", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 6, No 1 \u201cBoundless\u201d (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.226 http://contemporaneity.pitt.edu Firelei B\u00e1ez: Bloodlines The Andy Warhol Museum, February 17 \u2013 May 21, 2017 Nicole F. Scalissi Exhibition Review Exhibition catalog: Mari\u0301a Elena Ortiz, Firelei B\u00e1ez: Bloodlines, exh. cat. While some artworks foreground her experience navigating a multifaceted identity, Bloodlines extends far beyond autobiography and appeals to a more nuanced understanding of historical connections across the Americas, questioning who is allowed to construct History with a capital \u201cH.\u201d Figure 1 Installation view of Firelei B\u00e1ez: Bloodlines with (left to right)", "mime": "application/pdf"}, {"id": "contemporaneity-227", "words": "952", "extension": ".pdf", "flesch": "36", "author": "Pearson, Steven", "title": "Multiple Temporalities, Layered Histories", "date": "2017", "keywords": "pearson", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 6, No 1 \u201cBoundless\u201d (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.227 http://contemporaneity.pitt.edu Multiple Temporalities, Layered Histories Steven Pearson About the Artist Steven Pearson is a painter and Professor of Studio Art in the Art and Art History Department at McDaniel College in Westminster, Maryland, where he has been teaching studio art courses since 2004. Pearson then received his bachelor of science in studio art from the College of Saint Rose in Albany, NY, and his master of fine arts in painting from the Leroy E. Hoffberger School of Painting at the Maryland Institute College of Art in Baltimore, MD.", "mime": "application/pdf"}, {"id": "contemporaneity-228", "words": "1809", "extension": ".pdf", "flesch": "42", "author": "Eschenburg, Madeline", "title": "Bentu \u2013 Chinese Artists in a Time of Turbulence and Transformation: Suzanne Pag\u00e9, Laurence Boss\u00e9, Philip Tinari, and Claire Staebler, eds.", "date": "2017", "keywords": "artists; chinese; contemporary; liu; philip; time", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 6, No 1 \u201cBoundless\u201d (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.228 http://contemporaneity.pitt.edu Bentu \u2013 Chinese Artists in a Time of Turbulence and Transformation Suzanne Pag\u00e9, Laurence Boss\u00e9, Philip Tinari, and Claire Staebler, eds. The exhibition catalog Bentu: Chinese Artists in A Time of Turbulence and Transformation was published in conjunction with the exhibition of the same name held from January 2 to May 2, 2016.", "mime": "application/pdf"}, {"id": "contemporaneity-229", "words": "1448", "extension": ".pdf", "flesch": "31", "author": "Gunn, Chelsea", "title": "Fantasies of the Library: Anna-Sophie Springer and Etienne Turpin, eds.", "date": "2017", "keywords": "book; fantasies; information; library; springer", "summary": "Springer\u2019s \u201cMelancholies of the Paginated Mind\u201d establishes several of the book\u2019s primary themes: the subjective, interpretive nature of organizing information, the interplay between the intellectual classification and the arrangement of books in the physical environment, and the cultural roles and responsibilities of information spaces. It is relatively commonplace by now to see books and other information technologies used not only as means of researching exhibitions, but also as objects of focus in exhibitions themselves.", "mime": "application/pdf"}, {"id": "contemporaneity-230", "words": "1834", "extension": ".pdf", "flesch": "46", "author": "Larson, Ellen", "title": "Zhang Peili: Record. Repeat.", "date": "2017", "keywords": "art; culture; peili; video; zhang", "summary": "Near the end of this decade, in November 1988, Chinese contemporary artist Zhang Peili premiered what has become widely recognized as the first work of Chinese video art. In this earliest example of Chinese video art, Zhang Peili confounded the beholder\u2019s expectations, disrupting the accepted notion that artworks and moving images are created for the sole purpose of entertainment.", "mime": "application/pdf"}, {"id": "contemporaneity-231", "words": "1961", "extension": ".pdf", "flesch": "38", "author": "Ogrodnik, Benjamin", "title": "Dreamlands: Immersive Cinema and Art, 1905 \u2013 2016: Whitney Museum of American Art, October 26, 2016 \u2013 February 5, 2017", "date": "2017", "keywords": "art; artists; cinema; dreamlands; film; iles; image", "summary": "Also noteworthy is the exhibition\u2019s break away from the two dominant modes of historicizing experimental media artists. The big question driving Iles\u2019s show is: how can we better understand the way artists engage with moving images today?", "mime": "application/pdf"}, {"id": "contemporaneity-232", "words": "2464", "extension": ".pdf", "flesch": "40", "author": "Tyquiengco, Marina", "title": "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 \u2013 September 10, 2017", "date": "2017", "keywords": "aboriginal; art; artists; australia; empire; gallery; national", "summary": "Culture Warriors provided an encyclopedic survey of Aboriginal art, with thirty artists representing equally urban and remote areas of Australia. The second NIAT, unDisclosed, organized by Curator Carly Lane, sought to correct the over-representation of geographically remote artists in Aboriginal art globally and nationally by focusing heavily on urban-based artists.", "mime": "application/pdf"}, {"id": "contemporaneity-233", "words": "2781", "extension": ".pdf", "flesch": "27", "author": "Di Cicco, Rae", "title": "Boundless: Art and Identification Across Borders", "date": "2017", "keywords": "art; artists; boundless; contemporaneity; culture; exhibition; history; identity; online; presence", "summary": "While this volume focuses on concepts of identity and identity-making in the arts, several thematic constellations manifested in the process of collecting the articles: pushing against boundaries within sub-disciplines, collective identities beyond national borders, self-identification as hybrid or migrant, and tensions between individuals and the state. In these divisive times, there is a growing sense among many scholars that the scholarly work of art history can and ought to be socially engaged.", "mime": "application/pdf"}, {"id": "contemporaneity-236", "words": "3639", "extension": ".pdf", "flesch": "53", "author": "Bruce, Caitlin Frances", "title": "Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces", "date": "2018", "keywords": "artists; bruce; caitlin; frances; furnaces; graffiti; history; pittsburgh; site", "summary": "Carrie Furnaces: How an Industrial Site Becomes a Graffiti History Display When the Carrie Furnaces were abandoned in the late 1980s and early 1990s, they were an informal gathering place for guerilla artists, urban explorers, and graffiti artists. Kif\u2019s knowledge of international graffiti history, honed as the webmaster of her site, Lady\u2019s Graff meant that she had a deep appreciation for the history of letter-based graffiti at the site and its location near freight trains, iconic components of graffiti culture that Stef, too, represented.4 For Wes, the size and scale of the furnaces offered an interesting and intriguing contrast with the industry of his home city, that of leather and tanning.", "mime": "application/pdf"}, {"id": "contemporaneity-238", "words": "631", "extension": ".pdf", "flesch": "50", "author": "Price, Cecelia Ivy", "title": "Coming to Confidence", "date": "2018", "keywords": "confidence; price", "summary": "Figure 1 Cecelia Ivy Price, Coming to Confidence I, 2014, Oil on Canvas. | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.238 Figure 2 Cecelia Ivy Price, Coming to Confidence II, 2014, Oil on Canvas.", "mime": "application/pdf"}, {"id": "contemporaneity-239", "words": "3577", "extension": ".pdf", "flesch": "46", "author": "Molldrem Harkulich, Christiana", "title": "Gregg Deal's White Indian (2016): The Decolonial Possibilities of Museum Performance", "date": "2018", "keywords": "art; blood; deal; gregg; indian; museum; performance; white", "summary": "Indigenous narratives have been mostly told in history and natural history museums, and curation has changed tremendously in the past few decades by incorporating Indigenous community members into the creation of both the narrative and display.1 In art museums, Euro- American artistic portrayals of Indigenous people often echo the visuals of the \u201clast of\u201d trope, and they need additional context to dismantle the narrative, which many museums have done.2 The work of decolonization, the process of undoing the process of colonization and working with Indigenous peoples to move forward, requires that museums engage with telling hard truths about the history of colonization\u2014a push to remember and not forget the darker episodes of American history.3 Across both visual and performance art, Deal\u2019s works focuses on the ways that Indigenous people survive and resist the legacies of colonization that impact Indigenous people in the United States. http://contemporaneity.pitt.edu/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.239 On January 29, 2016, Gregg Deal (Pyramid Lake Paiute, born 1975) performed White Indian as the culmination of his three-month residency at the Denver Art Museum (DAM).", "mime": "application/pdf"}, {"id": "contemporaneity-240", "words": "9021", "extension": ".pdf", "flesch": "44", "author": "Cristobal, Nik", "title": "Kanaka '?iwi Critical Race Theory: Historical and Cultural Ecological Understanding of Kanaka '?iwi Education", "date": "2018", "keywords": "culture; education; hawai'i; hawaiian; history; journal; kanaka; kanaka'\u014diwicrit; kuleana; presence; press; race; race theory; theory; university; wright; \u0101ina; \u014diwi", "summary": "28 Wright and Balutski, \u201cKanaka '\u014ciwi Critical Race Theory,\u201d 98. 29 Kyle Kajihiro, \u201cA Brief Overview of Militarization and Resistance in Hawai'i,\u201d DMZ- Hawai'i/ Aloha 'Aina, March 1, 2007, accessed December 17, 2017, http://www.dmzhawaii.org /dmz-legacy-site/overview_military_in_hawaii.pdf, http://contemporaneity.pitt.edu/ http://www.dmzhawaii.org/ 3 2 K a n a k 50 Salis Reyes, \u201cAn Indigenized Phenomenology,\u201d 88\u201391; Erin Wright and Brandi Balutski, \u201cKa 'Ikena a ka Hawai'i: Toward a Kanaka '\u014ciwi Critical Race Theory,\u201d in Kanaka '\u014ciwi Methodologies: Mo'olelo and Metaphor, eds.", "mime": "application/pdf"}, {"id": "contemporaneity-241", "words": "1659", "extension": ".pdf", "flesch": "42", "author": "Fozi, Shirin; Savage, Kirk", "title": "Reflections on Race-ing the Museum, Two Years Later", "date": "2018", "keywords": "art; history; museums; pittsburgh; race", "summary": "These visits to long-established institutions, managed by full-time, professional staff members highly trained in their respective fields were balanced with opportunities to explore other Pittsburgh collections that have been organized by members of local communities, often without resources beyond personal initiative and the desire to engage with their neighbors. Lasting only five days, and limited to just twelve participants and two co-facilitators, our goal was simply to start a conversation and to engage with an infinitely complex topic across a varied selection of Pittsburgh collections and art spaces.", "mime": "application/pdf"}, {"id": "contemporaneity-243", "words": "8975", "extension": ".pdf", "flesch": "41", "author": "Ruiz S\u00e1nchez, H\u00e9ctor Camilo; Pardo Gaviria, Paulina; De Ferrari, Rosa; Savage, Kirk; Documet, Patricia", "title": "OjO Latino: A Photovoice Project in Recognition of the Latino Presence in Pittsburgh, PA", "date": "2018", "keywords": "community; culture; group; health; latino; ojo; ojo latino; online; participants; photographs; photovoice; pittsburgh; presence; project; public; research; university; work", "summary": "A Photovoice project based on photographs taken by Latino participants was ideally suited to this goal. The latter situation became evident during OjO Latino discussion sessions through the participants\u2019 descriptions of photographs about Latino work and their use of specialized vocabulary to refer to specific kitchen utensils and construction tasks.", "mime": "application/pdf"}, {"id": "contemporaneity-245", "words": "716", "extension": ".pdf", "flesch": "44", "author": "Kozal, Meghan", "title": "Destruction and Solution", "date": "2018", "keywords": "online; presence; work", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.245 http://contemporaneity.pitt.edu Destruction and Solution Meghan Kozal About the Artist Meghan Kozal is an undergraduate at the University of Notre Dame, majoring in design and minoring in art history and computing and digital technologies. Meghan has been in the art and design field for years, working in local galleries and museums and doing graphic design work for many groups on campus.", "mime": "application/pdf"}, {"id": "contemporaneity-250", "words": "683", "extension": ".pdf", "flesch": "31", "author": "Roca Gonzalez, Jezabeth", "title": "Gringolandia", "date": "2018", "keywords": "culture; gringolandia", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.250 http://contemporaneity.pitt.edu Gringolandia Jezabeth Roca Gonzalez About the Artist Jezabeth Roca Gonzalez is second-year student in an interdisciplinary MFA program at the University of South Florida in Tampa. Gringolandia Jezabeth Roca Gonzalez http://contemporaneity.pitt.edu/ 9 3 J e z a b e t h R o c a G on z a l e z Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 7, No 1 (2018) | ISSN 2153-5194 (online) | DOI 10.5195/contemp/2018.250 Figure 1 Jezabeth Roca Gonzalez, Gringolandia, 2017-2018, Photograph.", "mime": "application/pdf"}, {"id": "contemporaneity-253", "words": "648", "extension": ".pdf", "flesch": "43", "author": "Batrezchavez, Hazel", "title": "Border Check", "date": "2018", "keywords": "batrezchavez; work", "summary": "Border Check Hazel Batrezchavez http://contemporaneity.pitt.edu/ 7 4 B o r d e r Ch e c k Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.253 Figures 1&2 Hazel Batrezchavez, Border Check, 2018, Film Stills.", "mime": "application/pdf"}, {"id": "contemporaneity-255", "words": "777", "extension": ".pdf", "flesch": "37", "author": "Simko, Nick", "title": "Football", "date": "2018", "keywords": "culture; football; simko", "summary": "Football Nick Simko http://contemporaneity.pitt.edu/ 1 0 0 F oo t b a l l Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.255 Figure 1 Nick Simko, Football (7), 2018, Digital Composite Photograph, Inkjet Print on Paper, 60 \u00be x 41 \u00be in. a l l Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.255 Figure 3 Nick Simko, Football (10), 2018, Digital Composite Photograph, Inkjet Print on Paper, 58 x 41 \u00be in.", "mime": "application/pdf"}, {"id": "contemporaneity-260", "words": "5052", "extension": ".pdf", "flesch": "41", "author": "Scalissi, Nicole F", "title": "\u201cAn Imagined Border of Safety, Humanitarian Relief, and Creativity\u201d: J.M. Design Studio\u2019s Other Border Wall Project", "date": "2018", "keywords": "border; border wall; design; design studio; online; presence; prototype; studio; trump; wall", "summary": "wall prototype and various miles of border wall along the southwest border,\u201d from San Diego, CA, to Brownsville, TX. The guidelines for the \u201cOther Border Wall\u201d RFP also stipulated \u201cfully developed drawings, details or specifications are not desired or required,\u201d allowing the designers some flexibility in approaching their prototypes.10 Along with supplying prototype images, all applicants or \u201cofferors\u201d were required to demonstrate, as part of their submission, their qualifications in terms of experience with large-scale projects and competence to bring the design into fruition.", "mime": "application/pdf"}, {"id": "contemporaneity-261", "words": "1636", "extension": ".pdf", "flesch": "46", "author": "Ogrodnik, Benjamin", "title": "Blue Ruins: LaToya Ruby Frazier in Two Parts", "date": "2018", "keywords": "center; ford; frazier; latoya; ruby", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.261 http://contemporaneity.pitt.edu Blue Ruins LaToya Ruby Frazier in Two Parts Benjamin Ogrodnik Exhibtion Review Exhibition schedule: The Notion of Family, LaToya Ruby Frazier, The Silver Eye Center for Photography, September 21\u2013 November 18, 2017 Exhibition schedule: On the Making of Steel Genesis: Sandra Gould Ford, LaToya Ruby Frazier, The August Wilson Center, September 22\u2013 December 31, 2017 About the Author Benjamin Ogrodnik is a PhD Candidate with joint entry in history of art and architecture and film studies at the University of Pittsburgh. Figure 1 On the Making of Steel Genesis: Sandra Gould Ford, LaToya Ruby Frazier.", "mime": "application/pdf"}, {"id": "contemporaneity-262", "words": "2411", "extension": ".pdf", "flesch": "41", "author": "Pardo Gaviria, Paulina", "title": "Let\u00edcia Parente in Pacific Standard Time: LA/LA (Los Angeles/Latin America)", "date": "2018", "keywords": "america; art; latin; parente; university; video; work", "summary": "Built over the course of the exhibition research, and containing, for example, the most complete catalog of Parente\u2019s work to date, the library responded to the lack of regional studies on the subject and reflected this exhibition\u2019s important contribution to the history of video art from Latin America and thus to contemporary art history. Situating Parente\u2019s work outside of video art (her generally recognized niche), Xerografia revealed the rich networks that Parente partook in as part of the vibrant Brazilian art scene of the time.", "mime": "application/pdf"}, {"id": "contemporaneity-263", "words": "1291", "extension": ".pdf", "flesch": "36", "author": "Brewer, Lily", "title": "Unsettled: Exhibiting the Greater West", "date": "2018", "keywords": "artist; exhibition; museum; new; west; works", "summary": "Chocolate Room (1970\u20132004), by U.S. artist Ed Ruscha, comprises over three hundred panels of chocolate silkscreen and occupies an entire room, defamiliarizing the Hershey brand, which has a contentious and genocidal history in Central America. http://contemporaneity.pitt.edu/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.263 The Nevada Museum of Art\u2019s exhibition Unsettled provides us with a new grammar called the Greater West, which invites artists to take back the frontier narrative from colonizing currents.", "mime": "application/pdf"}, {"id": "contemporaneity-264", "words": "1322", "extension": ".pdf", "flesch": "38", "author": "Yarmohammad Touski, Golnar", "title": "Modern Art in the Arab World: Primary Documents", "date": "2018", "keywords": "art; book; documents; world", "summary": "Here, he invokes historian Albert Hourani\u2019s reflection, \u201cthe tragedy of Arab history is that it was caught between an indigenous desire for self-determination and an incorrigible Western will to dominate the Arab world itself\u201d (28). As such, non-Arab-speaking ethnicities and their lack of documentation are just as much part of a post-colonial discourse of belonging as the Arab speaking ethnicities documented in the book.", "mime": "application/pdf"}, {"id": "contemporaneity-265", "words": "1318", "extension": ".pdf", "flesch": "39", "author": "Lombard, Jacqueline", "title": "The Invention of Race in the Middle Ages", "date": "2018", "keywords": "heng; medieval; middle; race", "summary": "The Invention of Race stands upon the last few decades of foundational works on medieval race, which consist largely of a diverse array of individual case studies. She specializes in medieval art history, with a particular focus on the history of art objects as products or conduits of cross-cultural exchange across medieval Europe, the Middle East, and Northern and Eastern Africa.", "mime": "application/pdf"}, {"id": "contemporaneity-266", "words": "1391", "extension": ".pdf", "flesch": "33", "author": "Johnson, Annika", "title": "Lawrence Paul Yuxweluptun: Unceded Territories", "date": "2018", "keywords": "artist; land; territories; willard; yuxweluptun", "summary": "Yuxweluptun\u2019s focus on Indigenous land rights calls upon us all to consider our shared environmental future. Contemporaneity: Historical Presence in Visual Culture Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.266 http://contemporaneity.pitt.edu Lawrence Paul Yuxweluptun: Unceded Territories Karen Duffek and Tania Willard, eds Annika Johnson Book Review Karen Duffek and Tania Willard, eds.", "mime": "application/pdf"}, {"id": "contemporaneity-267", "words": "1790", "extension": ".pdf", "flesch": "44", "author": "Giordano, Rebecca L.", "title": "20/20: The Studio Museum of Harlem and the Carnegie Museum of Art", "date": "2018", "keywords": "20/20; art; black; exhibition; harlem; museum", "summary": "One might describe it as an exhibition of largely postwar art by black artists that acknowledged\u2014but did not coalesce into\u2014a history of blackness in the United States. The histories of large public museums are inscribed in a consistent neglect of black artists and the once-legal exclusion of and routine disinterest in the black communities, which they are, in fact, charged to serve.", "mime": "application/pdf"}, {"id": "contemporaneity-268", "words": "1620", "extension": ".pdf", "flesch": "35", "author": "Tyquiengco, Marina", "title": "Presenting Race: Institutional Contexts and Critiques", "date": "2018", "keywords": "art; history; museum; pittsburgh; race; university", "summary": "Rebecca Giordano and Benjamin Ogrodnik consider two important exhibitions highlighting the work of black artists on view in Pittsburgh in 2017. She was chosen as the History of Art and Architecture participant for the Race-ing the Museum, the inaugural Collecting Knowledge Pittsburgh Workshop supported by the A.W. Mellon Foundation.", "mime": "application/pdf"}, {"id": "contemporaneity-269", "words": "629", "extension": ".pdf", "flesch": "41", "author": "Henderson, Aaron", "title": "Looking/Not Looking", "date": "2018", "keywords": "aaron; henderson", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 7, No 1 (2018) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2018.269 http://contemporaneity.pitt.edu Looking/Not Looking Aaron Henderson About the Artist Aaron Henderson\u2019s photographs, videos, and installations are inspired by the artist's visceral and intellectual interest in how the body moves through space. Figure 1 Aaron Henderson, Not Looking 4, 2018, Digital Photograph.", "mime": "application/pdf"}, {"id": "contemporaneity-27", "words": "13179", "extension": ".pdf", "flesch": "52", "author": "Susik, Abigail", "title": "The Man of these Infinite Possibilities: Max Ernst\u2019s Cinematic Collages", "date": "2011", "keywords": "aragon; breton; century; cinema; collages; contemp.2011.27; contemporaneity; culture; ernst; essay; film; h e; http://contemporaneity.pitt.edu/; max; motion; m\u00e9li\u00e8s; new; online; painting; presence; surrealist; t h; vol; war", "summary": "Although it is well known that a few years after this initial essay on Ernst in 1921, Breton formulated a defense of the medium of painting in his tract Surrealism and Painting (written 1925-1928), it is arguable that even while Breton envisioned a continued role for painting in the twentieth-century, he likewise understood this survival to be predicated upon a thorough restructuring of conventional avenues of representation and 7 Andr\u00e9 Breton, Surrealism and Painting, 64. 8 This short essay first appeared in the catalog for the 1921 Au Sans Pareil bookstore exhibition in Paris (3 May-3 June 1921) and was then republished in Breton\u2019s collection of essays, Les Pas perdus of 1924 (Gallimard, Nouvelle revue fran\u00e7ais). Athough Breton is bound up in a dialogue of progress and innovation in his essay on Ernst, Therefore, in many ways, the kind of filmic illusion to which Breton refers in his essay was anachronistic from the standpoint of the post-World War I years, excepting its digested and subsumed presence in select moments of popular films and its sustained life in certain demonstrations of avant- garde cinema.", "mime": "application/pdf"}, {"id": "contemporaneity-272", "words": "10997", "extension": ".pdf", "flesch": "47", "author": "Moynihan, Conor", "title": "Timelessness and Precarity in Orientalist Temporality: Mehdi-Georges Lahlou\u2019s Aesthetics of Disorientation", "date": "2019", "keywords": "aesthetics; art; culture; disability; east; georges; mehdi; new; o r; online; orientalism; performance; presence; queer; r e; s s; time; university; west; work", "summary": "Contextualizing his work within a larger history of Orientalism, my argument begins first with Percy Bysshe Shelley\u2019s poem \u201cOzymandias,\u201d composed in 1817, followed by an analysis of nineteenth- and twentieth-century Orientalist paintings before leading to a concise discussion of contemporary Orientalism in art and art discourse. More recently, Nigel Lendon provides an insightful example of contemporary Orientalism in his critically important debunking of Arte Povera artist Alighiero Boetti.", "mime": "application/pdf"}, {"id": "contemporaneity-280", "words": "7674", "extension": ".pdf", "flesch": "50", "author": "Caya, Aimee", "title": "\u201cSo shall yoe bee:\u201d Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley", "date": "2019", "keywords": "agnes; alabaster; beresford; beresford monument; church; culture; dead; death; effigies; inscription; living; medieval; monument; online; thomas; tomb; vol", "summary": "http://contemporaneity.pitt.edu/ http://www.library.pitt.edu/dscribe/ http://www.pitt.edu/ http://www.library.pitt.edu/dscribe/ http://www.upress.pitt.edu/upressIndex.aspx http://creativecommons.org/licenses/by/4.0/ \u201cSo shall yoe bee\u201d Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley \u201cSo shall yoe bee:\u201d Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley Viewer Reception and Context: Medieval Tombs and Purgatorial Piety Medieval Macabre Imagery and the Process of Identification Appendix Inscription from the Beresford Monument Translation The alabaster monument depicts Thomas Beresford (d. 1473) and Agnes Hassall (d. 1467) as fully shrouded three- dimensional effigies.", "mime": "application/pdf"}, {"id": "contemporaneity-284", "words": "9800", "extension": ".pdf", "flesch": "53", "author": "Miramontes Olivas, Adriana; Garcilazo, Gabriel", "title": "From Axay\u00e1catl to El Chapo: Rethinking Migration and Mexico\u2019s War on Drugs in Gabriel Garcilazo\u2019s Dystopic Magical Codex", "date": "2019", "keywords": "amo; azcatitlan; city; codex; contemp/2019.284; contemporaneity; culture; drugs; gabriel; garcilazo; http://contemporaneity.pitt.edu/; mexico; migration; online; presence; r o; vol; war", "summary": "It also portrays the 1519 arrival of Hern\u00e1n Cort\u00e9s and his troops to Mexico City and the ensuing battle in 1521, ending in 1527.27 Like many sixteenth-century Mexican painted books, Codex Azcatitlan includes specific dates, events, and names in pictographs, text, and European visual traditions. Prof. Gregory Elliott and the Department of Art and Art History at the University of Texas at San Antonio funded my visit to Mexico City and Cuernavaca in the Spring of 2016; Prof. Teresa Eckmann invited me to join her and her contemporary art class on that trip, when I first encountered Garcilazo\u2019s work at Centro Cultural Jard\u00edn Borda.", "mime": "application/pdf"}, {"id": "contemporaneity-286", "words": "9295", "extension": ".pdf", "flesch": "56", "author": "Di Cicco, Rae; Kurth-Sofer, Rosabel Rosalind; Messersmith, Thomas M.", "title": "The Canaries of Democracy: Imagining the Wandering Jew with Artist Rosabel Rosalind Kurth-Sofer", "date": "2019", "keywords": "c c; c r; e c; e r; e s; h e; h o; jewish; m e; m o; o c; r t; s m; t h", "summary": "Pretty soon in my research, I discovered that the creatures equated with Jewish bodies on the postcards drew interesting parallels with Jewish laws of kashrut. It chooses to celebrate Vienna as a city rich with Jewish history without having such a narrow scope as many other Jewish institutions do.", "mime": "application/pdf"}, {"id": "contemporaneity-287", "words": "9423", "extension": ".pdf", "flesch": "57", "author": "Mize, Ramey ", "title": "Sacred Substantiations: Lincoln Casts and Statuary in the American Imagination ", "date": "2019", "keywords": "abraham; abraham lincoln; american; bronze; casts; culture; face; gaudens; hands; life; lincoln; mask; museum; new; presence; relics; saint; touch; university; volk; york", "summary": "Volk\u2019s direct impressions, or \u201ctrue\u201d images, of Lincoln\u2019s visage and hands, provided the \u201cblueprints,\u201d so to speak, for an astonishingly wide variety of sculptural manifestations, from the iconic Lincoln Memorial (1920) in Washington, DC, by Daniel Chester French, to Abraham Lincoln (1917), another standing bronze in Cincinnati by George Grey Barnard.65 A final medieval topos will shed light on this point, especially in relation to the casts\u2019 ready provision of an \u201coriginal\u201d relic from which a multitude of referential objects and images stem and proliferate. Augustus Saint-Gaudens recognized and capitalized on their invaluable status as candid indexes of Lincoln\u2019s likeness in his 1887 Chicago monument, Abraham Lincoln: The Man.", "mime": "application/pdf"}, {"id": "contemporaneity-288", "words": "10063", "extension": ".pdf", "flesch": "40", "author": "Tyquiengco, Marina; Siebert , Monika", "title": "Are Indians in America's DNA? ", "date": "2019", "keywords": "american; american indian; contemporaneity; contemporary; culture; e r; exhibition; gallery; history; images; indian; museum; n d; national; pocahontas; siebert", "summary": "For the majority of contemporary museum visitors, this engagement typically involves Indian images\u2014 that is, stereotypes of Indianness dispersed throughout popular culture that mark our everyday lives in mundane ways, rather than contemporary American Indians themselves. In a critique of multiculturalism from an Indigenous historical perspective, Indians Playing Indians details how contemporary artists have used their respective mediums to combat multicultural misrecognition and help mainstream society re-envision North America as consisting of distinct political entities: Indigenous nations (or First Nations) along with the United States and Canada.", "mime": "application/pdf"}, {"id": "contemporaneity-290", "words": "2014", "extension": ".pdf", "flesch": "46", "author": "Kibler Maxwell, Andrea", "title": "Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance", "date": "2019", "keywords": "art; cult; healing; images; miracles; saints", "summary": "In many of these cases, the examples challenge previously assumed beliefs involving cult images. While not noted specifically in the title, all the case studies in this book remain in or tied to Italy; however, several authors make a much-needed shift away from the popular trifecta of Florence, Rome, and Venice to explore cult images and saints in places like Rovigo, Bologna, Naples, Venice-controlled Kotor, and the reach of some cults into Spain.", "mime": "application/pdf"}, {"id": "contemporaneity-291", "words": "2057", "extension": ".pdf", "flesch": "46", "author": "Nygren, Christopher J.", "title": "Raphael and the Redefinition of Art in Renaissance Italy", "date": "2019", "keywords": "art; modernity; raphael; renaissance; williams", "summary": "At the core of Raphael and the Redefinition of Art in Renaissance Italy is a bold claim regarding not only the practice of Renaissance art history, but also how the discipline of art history is subjected to the conditions of modernity. Contemporaneity: Historical Presence in Visual Culture Vol 8, No 1 (2019) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2019.291 http://contemporaneity.pitt.edu Raphael and the Redefinition of Art in Renaissance Italy Robert Williams Christopher J. Nygren Book Review Robert Williams, Raphael and the Redefinition of Art in Renaissance Italy.", "mime": "application/pdf"}, {"id": "contemporaneity-292", "words": "1984", "extension": ".pdf", "flesch": "52", "author": "Wargula, Carolyn", "title": "Fujiwo Ishimoto Exhibition: From Marimekko Flowers to Ceramic Fruits in Dialogue with the Rinpa", "date": "2019", "keywords": "exhibition; ishimoto; japanese; marimekko; museum; rinpa", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 8, No 1 (2019) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2019.292 http://contemporaneity.pitt.edu Fujiwo Ishimoto Exhibition: From Marimekko Flowers to Ceramic Fruits in Dialogue with the Rinpa Hosomi Museum, Kyoto, Japan Carolyn Wargula Exhibition Review Exhibition catalog: Yoshinao Yamada, Fujiwo Ishimoto: From Marimekko Flowers to Ceramic Fruits. Both Rinpa artists and Ishimoto posit that art is meant to seep into everyday life.", "mime": "application/pdf"}, {"id": "contemporaneity-293", "words": "1694", "extension": ".pdf", "flesch": "42", "author": "Reiff Conell, Sarah", "title": "Art and Miracle in Renaissance Tuscany", "date": "2019", "keywords": "art; chapter; guizzelmi; maniura; miracle", "summary": "Nevertheless, they were certainly objects that figured centrally in devotees\u2019 actions, and the author\u2019s description of these images highlights one of the fundamental contradictions in the study of miracle cults; it is difficult to understand why shrines were filled with valuable objects or why tokens that touched miraculous images were used in healing if it was, as he argues, \u201cunlikely that they were taken to provide direct access to the divine\u201d (9). Contemporaneity: Historical Presence in Visual Culture Vol 8, No 1 (2019) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2019.293 http://contemporaneity.pitt.edu Art and Miracle in Renaissance Tuscany Robert Maniura Sarah Reiff Conell Book Review Robert Maniura, Art and Miracle in Renaissance Tuscany.", "mime": "application/pdf"}, {"id": "contemporaneity-297", "words": "2019", "extension": ".pdf", "flesch": "35", "author": "Lombard, Jacqueline M.", "title": "Yesterday's Contemporaneity: Finding Temporality in the Past", "date": "2019", "keywords": "art; contemporaneity; edition; history; past; time; university", "summary": "She specializes in medieval art history, with a particular focus on the history of art objects as products or conduits of cross-cultural exchange between Medieval Europe, the Middle East, and Africa. The act of defining contemporaneity to make sense of the past is a foundational practice in the field of art history, even when it is not the explicit goal of the art historian.", "mime": "application/pdf"}, {"id": "contemporaneity-298", "words": "169", "extension": ".pdf", "flesch": "15", "author": "Lombard, Jacqueline M.", "title": "Erratum to: Miramontes Olivas, A., & Garcilazo, G. (2019). From Axay\u00e1catl to El Chapo: Rethinking Migration and Mexico\u2019s War on Drugs in Gabriel Garcilazo\u2019s Dystopic Magical Codex. Contemporaneity: Historical Presence in Visual Culture, 8, 98-118. https://doi.org/10.5195/contemp.2019.284", "date": "2019", "keywords": "contemporaneity", "summary": "Contemporaneity: Historical Presence in Visual Culture, 8, 98- 118. http://contemporaneity.pitt.edu/ https://doi.org/10.5195/contemp.2019.284 Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu Vol 8, No 1 (2019) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2019.298 New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License.", "mime": "application/pdf"}, {"id": "contemporaneity-31", "words": "1204", "extension": ".pdf", "flesch": "29", "author": "Editors, The", "title": "About Contemporaneity", "date": "2011", "keywords": "adobe; contemporaneity; culture; time", "summary": 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a stvaranje Adobe PDF dokumenata najpogodnijih za visokokvalitetni ispis prije tiskanja koristite ove postavke.", "mime": "application/pdf"}, {"id": "contemporaneity-314", "words": "7081", "extension": ".pdf", "flesch": "53", "author": "Blomfield, Nina; Loney, Katie", "title": "\u201cIndia in America\u201d: A Curatorial Conversation on the Work and Practice of Lockwood de Forest and The Ahmedabad Wood Carving Company", "date": "2021", "keywords": "ahmedabad; art; bryn; bryn mawr; college; de forest; forest; lockwood; mawr; work", "summary": "\u201cAll-Over Design\u201d: Lockwood de Forest between Ahmedabad and Bryn Mawr, curated by Nina Blomfield, was the first comprehensive exhibition of the decorative arts program designed by de Forest at Bryn Mawr College (Fig. 1). Both exhibitions examined the movement of these objects from Ahmedabad to New York, Baltimore, and Bryn Mawr, accounting not only for the creative agency of de Forest but also for the often- overlooked work of Hutheesing, the company\u2019s craftsmen, and de Forest\u2019s elite female patrons: Baltimore railroad heiress Mary Garrett and Bryn Mawr College president M. Carey Thomas.", "mime": "application/pdf"}, {"id": "contemporaneity-315", "words": "2508", "extension": ".pdf", "flesch": "41", "author": "Finkelstein , Emi; Loney, Katie", "title": "Mobility & Exchange: Moving Across/Through Cultures", "date": "2021", "keywords": "art; contemporaneity; cultures; exchange; mobility; work; world", "summary": "While mobility and exchange between people, nations, and cultures have been shifted by many moments in world history\u2014including the end of the Cold War of 1989, the wave of student revolutions of 1968, the technological rise and attendant capitalism of the industrial revolution, and the era of exploration with its fraught legacy that led to global unevenness and colonial structures\u2014the discipline of art history has long posed questions about how global material cultures form, define, and re-define identities and relationships. As we publish this new issue in the new world of 2021, we aim to shift the discipline of art history in ways that realign with and address the problems we now clearly face.", "mime": "application/pdf"}, {"id": "contemporaneity-316", "words": "1429", "extension": ".pdf", "flesch": "35", "author": "Kupfer , Paula ; Eisensmith, Jacob", "title": "Questionnaire: Introduction", "date": "2021", "keywords": "exchange; mobility; movement; questionnaire", "summary": "Her case study exposes gender- and class-based biases that underwrite some of the scholarship on mobility within art and architectural history, while her close analysis of a nineteenth-century British watercolor demonstrates how notions of movement framed the colonialist visual representation of Indian locals. However, the concepts of mobility and exchange acquired a decidedly different character after the onset of the COVID-19 pandemic in the United States in March 2020.", "mime": "application/pdf"}, {"id": "contemporaneity-317", "words": "1876", "extension": ".pdf", "flesch": "30", "author": "Hosseini, Sahar", "title": "Questionnaire: Response", "date": "2021", "keywords": "century; culture; isfahan; mobility; new", "summary": "The growing number of publications in this area confirms the rising interest in the circulation of objects and their multiple lives, meanings, and interpretations as they moved within the mercantile and diplomatic nexuses that connected Asia, Africa, and Europe even prior to the nineteenth- century boost in global mobility. | DOI 10.5195/contemp/2021.317 Confined at home at a time when the pandemic has imposed unprecedented limits on our mobility and heightened our awareness about the now-lost advantages of ready access to books and archives, trips to research sites, and spontaneous encounters with colleagues, reflecting on mobility is truly a timely exercise.", "mime": "application/pdf"}, {"id": "contemporaneity-318", "words": "2020", "extension": ".pdf", "flesch": "41", "author": "Rajagopalan, Mrinalini ", "title": "Questionnaire: Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834", "date": "2021", "keywords": "barretto; calcutta; church; mobility; souza", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 9, No 1 (2021) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2021.318 http://contemporaneity.pitt.edu Questionnaire Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834 Mrinalini Rajagopalan Questionnaire Response to the questionnaire: \u201cStationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834\u201d About the Author Mrinalini Rajagopalan is Associate Professor in the Department of History of Art and Architecture, University of Pittsburgh. This journal is operated by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program, and is co-sponsored by the University of Pittsburgh Press. http://contemporaneity.pitt.edu/ http://www.library.pitt.edu/dscribe/ http://www.pitt.edu/ http://www.library.pitt.edu/dscribe/ http://www.upress.pitt.edu/upressIndex.aspx Questionnaire Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834 Questionnaire Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834", "mime": "application/pdf"}, {"id": "contemporaneity-319", "words": "1042", "extension": ".pdf", "flesch": "38", "author": "Veeraraghavan, Lee", "title": "Questionnaire: Response", "date": "2021", "keywords": "culture; exchange; mobility", "summary": "Constraints on the mobility of Indigenous people is a salient feature of settler colonial governmentality, whether that means the imposition of the reservation system by the Indian Act of 1876, or the disproportionate rate at which Indigenous people are incarcerated in Canada. Anthropologist Audra Simpson and Indigenous studies and sound studies scholar Dylan Robinson have made compelling arguments in favor of a stance of ethnographic refusal when writing about Indigenous people and culture.", "mime": "application/pdf"}, {"id": "contemporaneity-32", "words": "18424", "extension": ".pdf", "flesch": "55", "author": "Smith, Terry", "title": "Contemporaneity in the History of Art: A Clark Workshop 2009, Summaries of Papers and Notes on Discussions", "date": "2011", "keywords": "art; art history; artists; contemp.2011.32; contemporaneity; contemporary; culture; e r; example; future; history; http://contemporaneity.pitt.edu/; modern; new; o r; online; past; presence; present; question; r t; r y; t e; t h; t o; theory; think; time; vol; work; world", "summary": "In my essay in the Altermodern catalog I speak about an \u201coff-center\u201d condition, and cite the work of curators such as Patrick Flores who track these kinds of relationships in places such as the Philippines and Malaysia.34 David Summers \u2014 Real Spaces and Contemporary Art There is no single, general picture of contemporary art. Coming into this workshop I had felt that doing contemporary art history is the most 45 Hans-Joachim M\u00fcller, Harald Szeemann: Exhibition Maker (Ostfildern-Ruit and Maidstone: Hatje Cantz and Amalgamated Book Services, 2006). http://contemporaneity.pitt.edu/\ufffd 3 2 C o n t e mp o", "mime": "application/pdf"}, {"id": "contemporaneity-320", "words": "1362", "extension": ".pdf", "flesch": "44", "author": "french, Lindsey", "title": "Questionnaire: Response", "date": "2021", "keywords": "response; risk; urushiol; work", "summary": "I do not want to compare a controlled rash from poison ivy to the lived experiences of institutional racism, but I do want to propose that in these small moments\u2014of consenting to risk, of resisting a false sense of purity, of inviting knowledge outside of our boundaries\u2014we practice what is necessary to take the larger risks necessary for transformation. I work with poison ivy for many reasons, including its maligned position in spaces of nature and the fact that it thrives in conditions of climate change.", "mime": "application/pdf"}, {"id": "contemporaneity-321", "words": "3467", "extension": ".pdf", "flesch": "43", "author": "Taylor, Alex J.", "title": "The Stones of Ivittuut: Extracting Stories from Rocks", "date": "2021", "keywords": "aluminum; art; cryolite; history; ivittuut; museum; pittsburgh; presence; university", "summary": "More than a dozen other Pitt graduate and undergraduate students, faculty, and Pittsburgh curators and archivists contributed to the exhibition and work that is featured in the exhibition catalogue, Metal from Clay: Pittsburgh\u2019s Aluminum Stories (Pittsburgh: University Art Gallery, 2019). The sample of Greenland cryolite loaned from the Carnegie Museum of Natural History originally came from the vast mineral collection of William W. Jefferis in West Chester, Pennsylvania, but must have originated among the imports of the Pennsylvania Salt Manufacturing Company, the mineral\u2019s sole supplier.", "mime": "application/pdf"}, {"id": "contemporaneity-326", "words": "1974", "extension": ".pdf", "flesch": "40", "author": "Tyquiengco, Marina", "title": "The Metabolic Museum: Cl\u00e9mentine Deliss", "date": "2021", "keywords": "deliss; ethnographic; ibid; metabolic; museum", "summary": "The lack of visuals is also challenging given the emphasis on museum spaces, collections, and projects. The author outlines her values related to museum work and moves out from her specific projects\u2014artist residencies, explorative seminars, and unique public programs\u2014to what they mean for an inherently colonial institution.", "mime": "application/pdf"}, {"id": "contemporaneity-327", "words": "4942", "extension": ".pdf", "flesch": "50", "author": "Miramontes Olivas, Adriana", "title": "how the light gets in: Herbert F. Johnson Museum of Art, Cornell University", "date": "2021", "keywords": "art; citizenship; contemporaneity; culture; herbert; johnson; light; museum; online; presence; university", "summary": "Contemporaneity: Historical Presence in Visual Culture Vol 9, No 1 (2021) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2021.327 http://contemporaneity.pitt.edu how the light gets in Herbert F. Johnson Museum of Art, Cornell University Adriana Miramontes Olivas Exhibition Review Exhibition Schedule: Herbert F. Johnson Museum of Art, Cornell University, Ithaca NY, September 7 \u2013 December 8, 2019 About the Author Adriana Miramontes Olivas is a PhD candidate in the History of Art and Architecture Department at the University of Pittsburgh. Rael and San Fratello\u2019s Reunite challenges what has become a normalized term\u2014citizenship\u2014and invites viewers to consider more flexible definitions of belonging that emphasize our common humanity and solidarity, as opposed to allegiance to the modern nation-state.1 Figure 1 Herbert F. Johnson Museum of Art, Cornell University.", "mime": "application/pdf"}, {"id": "contemporaneity-328", "words": "2280", "extension": ".pdf", "flesch": "34", "author": "Eisensmith, Jake", "title": "Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa: Aga Khan Museum, Toronto, Canada", "date": "2021", "keywords": "africa; culture; exhibition; museum; objects; saharan", "summary": "But one wonders if it was the best ending given the strength of the previous sections, which were expansive in their objects and geographies and made clear that medieval Saharan Africa was a complex, nuanced, and thriving site of commerce and culture that was strongly interconnected with the cultures around it. The final section, \u201cSaharan Echoes,\u201d emphasizes the afterlives of Saharan medieval objects and concerns by showcasing their effect on more recent objects.", "mime": "application/pdf"}, {"id": "contemporaneity-329", "words": "1973", "extension": ".pdf", "flesch": "47", "author": "Pardo Gaviria, Paulina", "title": "Colored Plexiglass: Irving and Aaronel deRoy Gruber Foundation Gallery Inaugural Exhibition: Irving and Aaronel deRoy Gruber Foundation Gallery", "date": "2021", "keywords": "aaronel; deroy; exhibition; foundation; gallery; gruber", "summary": "Image courtesy of the Irving and Aaronel deRoy Gruber Foundation, Pittsburgh. Image courtesy of the Irving and Aaronel deRoy Gruber Foundation, Pittsburgh. http://contemporaneity.pitt.edu/ 1 0 2 Co l o r e d P l e x", "mime": "application/pdf"}, {"id": "contemporaneity-330", "words": "2606", "extension": ".pdf", "flesch": "53", "author": "Nygren, Christopher J.", "title": "Painting as a Modern Art in Early Renaissance Italy: Robert Brennan", "date": "2021", "keywords": "art; brennan; giotto; modern; modernity; painting; renaissance", "summary": "Since I began training in the field of Italian Renaissance art history in the mid 2000s, claims to the \u201cmodernity\u201d of Renaissance art have animated much of the most exciting work in the field, but they have also engendered responses from those who feel it is important to underline the Renaissance\u2019s \u201cnon-modernity. Contemporaneity: Historical Presence in Visual Culture Vol 9, No 1 (2021) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2021.330 http://contemporaneity.pitt.edu Painting as a Modern Art in Early Renaissance Italy Robert Brennan Christopher J. Nygren Book Review Robert Brennan, Painting as a Modern Art in Early Renaissance Italy.", "mime": "application/pdf"}, {"id": "contemporaneity-34", "words": "14430", "extension": ".pdf", "flesch": "66", "author": "Bailey, Robert; Albu, Cristina", "title": "The Temporalities of Soviet and Postcommunist Visual Culture: Boris Groys and Petre Petrov in Conversation", "date": "2011", "keywords": "art; culture; kind; people; present; russia; soviet; t e; time; union; visual", "summary": "That\u2019s why the experience of Sotheby\u2019s was important for Russian art. People came without any knowledge of Russian art, any knowledge of context, any knowledge of the nation or artist, any knowledge of history.", "mime": "application/pdf"}, {"id": "contemporaneity-343", "words": "994", "extension": ".pdf", "flesch": "40", "author": "Simmons, Shawn", "title": "On Disciplinary Disrepair: Editor's Introduction", "date": "2025", "keywords": "art; contemporaneity; history", "summary": "His research interests center on modern and contemporary art, with a focus on museological critique, queer and feminist art histories, archival studies, and visual cultures of science and technology. Vol 10, No 1 (2025) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2025.343 This volume of Contemporaneity marks a return.", "mime": "application/pdf"}, {"id": "contemporaneity-344", "words": "7428", "extension": ".pdf", "flesch": "36", "author": "Guido Ochoa, Amanda", "title": "Occupied Monument: Forte Prenestino and the Creative Rewriting of Ruins", "date": "2025", "keywords": "collective; culture; forte; forte prenestino; graffiti; groups; occupation; practices; prenestino; presence; resistance; rome; space", "summary": "Two years later, Adesso Basta occupied Forte Prenestino for one week in December of 1985, offering free concerts and exhibitions.10 This was a symbolic occupation,11 with the objective of proving that the association could be in charge of the abandoned space, and that it could offer a cultural agenda to the benefit of a Quartiere that did not have cultural spaces. Vol 10, No 1 (2025) | ISSN 2153-5914 (online) | DOI 10.5195/contemp/2025.344 Following the categories explored by Alois Riegl in his seminal work The Modern Cult of Monuments,12 Forte Prenestino is an unintentional monument with both historical value and use value.", "mime": "application/pdf"}, {"id": "contemporaneity-345", "words": "1072", "extension": ".pdf", "flesch": "44", "author": "acierto, alejandro", "title": "In averting my eyes, I see what lies ahead", "date": "2025", "keywords": "images; moros", "summary": "Dean Conant Worcester\u2019s articles for National Geographic between 1898 and 1913 established additional images. By contrast, Wahl-Thompson\u2019s photo series from 1911 illustrates the construction of history through intentional erasures.", "mime": "application/pdf"}, {"id": "contemporaneity-346", "words": "1609", "extension": ".pdf", "flesch": "46", "author": "Liu, Andrea", "title": "Redressing a Lacuna in the Historical Record: Mazepa", "date": "2025", "keywords": "art; mazepa; rapper; ridnyi; russia; ukrainian", "summary": "| DOI 10.5195/contemp/2025.346 Since Russia\u2019s war in Ukraine in February 2022, institutions of visual art have attempted to take on a reparative role in the cultural sphere by elevating Ukrainian artists and multiplying opportunities and visibility for them\u2014and by dedicating entire exhibitions solely to Ukraine and/or Ukrainian artists. Amidst this landscape, the second iteration of the Kyiv Perennial came to Berlin in February 2025\u2014a sprawling exhibition of Ukrainian artists at nGbK (neue Gesellschaft f\u00fcr bildende Kunst), Between Bridges, and Prater Galerie.", "mime": "application/pdf"}, {"id": "contemporaneity-347", "words": "855", "extension": ".pdf", "flesch": "24", "author": "Rizzi, Francesco", "title": "Historical Presence and Immersive Technologies: Between Repair and Rewriting of Visual Memory", "date": "2025", "keywords": "immersive; memory; presence", "summary": "The notion of historical presence in visual studies has traditionally been constituted through a representational regime based on static media\u2014 textual, iconographic, photographic\u2014designed to mediate the temporal distance between observer and event. This epistemological shift raises questions about the extent to which immersion constitutes an extension of historical presence rather than a hypermediated simulation of it.1 The emblematic case of digital reconstructions of destroyed archaeological sites, such as the 3D modeling of Palmyra, exemplifies the dialectic between the repair and rewriting of memory.2 Here, the notion of historical presence refers to how the past becomes experientially accessible in the present, through technologically mediated forms.", "mime": "application/pdf"}, {"id": "contemporaneity-348", "words": "1451", "extension": ".pdf", "flesch": "53", "author": "Bork, Dustyn", "title": "Reparation and Healing through Materiality in the Work of Aya Haidar", "date": "2025", "keywords": "haidar; work", "summary": "| DOI 10.5195/contemp/2025.348 Aya Haidar, a contemporary Lebanese artist, adds a tactile and personal response to the destruction caused by a massive explosion in Beirut. \u201cThe physical act of mending works towards an emotional repair,\u201d she says.", "mime": "application/pdf"}, {"id": "contemporaneity-349", "words": "1420", "extension": ".pdf", "flesch": "37", "author": "Copeland, Huey", "title": "Questionnaire: Response", "date": "2025", "keywords": "art; culture; online; repair; study", "summary": "Rather than assume the redemptive power of art, I have increasingly turned away from art history and toward black studies in order to explore the constitutive (yet often unthought) relationship between the capture of black life and the production of cultural property in the transatlantic world. Cast in this light, my work can be broadly understood as what early modern theatre historian No\u00e9mie Ndiaye would call reparanoid, which is to say, \u201cgrounded simultaneously in a reparative desire to account for Afro-diasporic life that exceeds the painful heinousness of racial formations, and in a paranoid distrust of the comfort and complacency that accounts of black life can easily elicit among twenty-first-century readers prepared for any number of reasons to minimize the transhistorical reality of antiblackness.", "mime": "application/pdf"}, {"id": "contemporaneity-35", "words": "2804", "extension": ".pdf", "flesch": "40", "author": "Moxey, Keith", "title": "Review: Anachronic Renaissance by Alexander Nagel and Christopher Wood", "date": "2011", "keywords": "art; nagel; presence; renaissance; substitutional; university; wood", "summary": "<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> /UKR <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> /ENU (Use these settings to create Adobe PDF documents best suited for high-quality prepress printing. In a strategy that will be of interest to anyone concerned with the study of \u201ccontemporaneity,\u201d \u2014 the ongoing debate about the nature of the moment which we presently occupy and the way it affects our attitudes to history2 Their principal accomplishment, a theoretical model that proves an extraordinarily flexible and subtle tool for art historical interpretation, lies in the imaginative elaboration of the concepts \u201csubstitutional\u201d and \u201cperformative,\u201d derived ultimately from Hans Belting\u2019s magisterial book, Likeness and Presence. \u2014 they locate themselves in time by eliding the question of their own position within it.", "mime": "application/pdf"}, {"id": "contemporaneity-350", "words": "869", "extension": ".pdf", "flesch": "37", "author": "Aguayo, Camila", "title": "Questionnaire: Response", "date": "2025", "keywords": "art; campeche; culture", "summary": "When she asked why I was writing about European art when Puerto Rico\u2019s own visual culture remained largely understudied, I had a moment of uncomfortable clarity. To confront Campeche\u2019s racial erasure is to question the legacies of art history that have influenced the methodologies, historiographies, and priorities governing our discipline to this day.", "mime": "application/pdf"}, {"id": "contemporaneity-351", "words": "617", "extension": ".pdf", "flesch": "32", "author": "Doyen, Kale", "title": "Questionnaire: Introduction", "date": "2025", "keywords": "architecture; art; history", "summary": "Here, we foregrounded graduate student scholarship that contends with tensions of inherited imbalances of power in art and architectural history, with presentations by Rahel Kesselring, Santasil Mallik, Amanda Guido Ochoa, Ava Romano, Eric W.Ross, Emilela Thomas- Adams, and Jenna M. Wilson. She was a recipient of the 2024-25 Mellon/ACLS Dissertation Innovation Fellowship and served as Symposium Chair for \u201cRuin and Reparation: (Dis)Repair in Art and Architectural History\u201d in Spring 2024. http://contemporaneity.pitt.edu/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu", "mime": "application/pdf"}, {"id": "contemporaneity-352", "words": "928", "extension": ".pdf", "flesch": "18", "author": "Josten, Jennifer", "title": "Questionnaire: Response", "date": "2025", "keywords": "architecture; art; online; students", "summary": "Pedagogy, in the form of formal courses and individualized research mentorship, is the arena in which I have most actively worked to nurture reparative histories of art and architecture. On one hand, this involves identifying and supporting reparative efforts that are being carried out in the field.", "mime": "application/pdf"}, {"id": "contemporaneity-36", "words": "3355", "extension": ".pdf", "flesch": "45", "author": "Hung, Wu", "title": "From \u201cModern\u201d to \u201cContemporary\u201d: A Case in Post-Cultural Revolutionary Art", "date": "2011", "keywords": "art; chinese; contemporaneity; contemporary; history; modern; new; pattern", "summary": "But if we broaden our view to observe a longer duration of Chinese art history, we find a \u201cpattern of rupture\u201d as a general condition of artistic creativity. Chinese art after 1990 had a very different appearance: the energy of a mass movement was completely gone.", "mime": "application/pdf"}, {"id": "contemporaneity-38", "words": "6188", "extension": ".pdf", "flesch": "45", "author": "Donnelly, Jennifer", "title": "Mirror of Time: Temporality and Contemporaneity in the work of Jorge Luis Borges", "date": "2012", "keywords": "borges; contemporaneity; garden; material; new; orbis; paths; refutation; temporalities; temporality; tertius; time; tl\u00f6n; uqbar", "summary": "This essay deals with a narrow subject within the philosophy of time: the refutation of linear time and the emergence of contemporaneity and multiple theories of time over the course of the twentieth-century as a reaction against the universal, progress-oriented modernist theories of time of the early twentieth- century. As in The Garden of Forking Paths, he denies the existence of linear time based on the assumption that a single instance of repetition destroys the successive sequence of time: \u201cIs not one single repeated term enough to disrupt and confound the history of the world, to reveal that there is no such history?\u201d10", "mime": "application/pdf"}, {"id": "contemporaneity-43", "words": "7397", "extension": ".pdf", "flesch": "54", "author": "McCloskey, Barbara", "title": "Marking Time: Women and Nazi Propaganda Art during World War II", "date": "2012", "keywords": "art; contemp.2012.43; contemporaneity; culture; image; myth; nazi; online; poster; presence; propaganda; reich; time; visual; vol; war; women", "summary": "Sepp Hilz and Ivo Saliger were among those painters who specialized in presenting woman according to the most 8 Claudia Koonz, Mothers in the Fatherland: Women, the Family and Nazi Politics (New York: St. Martin's Press, 1987); and Tim Mason, Women in Germany, 1925-1940: Family, Welfare and Work, History Workshop, part 1 (Spring 1976): 74-113, and part 2 (Autumn 1976): 5-32. Among other things, hard-liners also spearheaded attempts to battle the appeal of French couture among German women by (fruitlessly) extolling the virtues of Volkstrachten.", "mime": "application/pdf"}, {"id": "contemporaneity-44", "words": "12280", "extension": ".pdf", "flesch": "57", "author": "Otto, Elizabeth", "title": "Real Men Wear Uniforms: Photomontage, Postcards, and Military Visual Culture in Early Twentieth-Century Germany", "date": "2012", "keywords": "body; contemp.2012.44; contemporaneity; culture; der; e l; e n; e t; germany; images; m e; male; military; online; portraits; postcards; presence; r e; soldier; vol; war; women; world", "summary": "Hanne Bergius also cites soldier portraits as key to the rise of Dada in Montage und Metamechanik: Dada Berlin\u2014 Artistik von Polarit\u00e4ten (Berlin: Gebr. In some types of soldier portraits, photograph and romanticized landscape are brought together through another device: combined negatives that were used to make a single, uninterrupted photographic print.", "mime": "application/pdf"}, {"id": "contemporaneity-45", "words": "15106", "extension": ".pdf", "flesch": "59", "author": "Eisman, April A.", "title": "Denying Difference to the Post-Socialist Other: Bernhard Heisig and the Changing Reception of an East German Artist", "date": "2012", "keywords": "art; artists; bernhard; bernhard heisig; c e; contemporaneity; culture; der; e r; e t; east; east germany; exhibition; german; h e; heisig; history; leipzig; o t; online; paintings; paris; s t; vol; war; west; work", "summary": "These political forwards each mentioned the quality of Heisig\u2019s work and his commitment to society: in Heisig\u2019s work \u201ca passionate knowledge of our socialist 40 Bernhard Heisig, Gem\u00e4lde, Zeichnungen, Lithographien (Dresden and Leipzig, 1973). [here is] an intact, precisely calculated image\u2026 Heisig: a painter who sets the whole of his artistic means [in play]\u2026\u201d In addition to his value for the West, the introduction also emphasized his commitment to society: \u201cfor Bernhard Heisig, it is important to have the chance \u2018to work on a world view,\u2019 since he is convinced that the best art requires a connection to\u2014and interaction with\u2014society.\u201d", "mime": "application/pdf"}, {"id": "contemporaneity-46", "words": "2078", "extension": ".pdf", "flesch": "36", "author": "Kim, Gyewon", "title": "Review: The New Woman International: Representations in Photography and Film from the 1870s through the 1960s edited by Elizabeth Otto and Vanessa Rocco", "date": "2012", "keywords": "international; modern; modernity; new; woman", "summary": "On the other hand, other essays suggest that film-based technologies were not only the main locus wherein New Woman figures were represented, but also spaces where those figures could perform themselves, prominently featuring their freedom, mobility, and artistic sensibility. By highlighting the active visual engagement of the New Woman, this book invites us to the yet uncharted territory of \u201cfeminine modernism,\u201d shaped and reshaped as a parallel to the emergence of new visual technologies, democracy, and urban culture.5 Ultimately, The New Woman International attempts to move beyond the general historiography of modernism that has tended to place the male viewer and creator at the center of culture.", "mime": "application/pdf"}, {"id": "contemporaneity-47", "words": "4048", "extension": ".pdf", "flesch": "73", "author": "Cohen, Brianne", "title": "An Interview with Lucy Skaer of Henry VIII\u2019s Wives", "date": "2012", "keywords": "film; kind; people; work", "summary": "In several of the group\u2019s pieces, you have employed the help of elderly people, blind people, or people who suffer from dementia (as in the case of The Returning Officer). LS: Yes, quite often with the works, such as Mr. Hysteria or Spiral Betty, we take existing material, feed it through another process, give it back to other people, and then take it back from them, etc.\u2026", "mime": "application/pdf"}, {"id": "contemporaneity-5", "words": "9191", "extension": ".pdf", "flesch": "44", "author": "Sheren, Ila Nicole", "title": "Transcultured Architecture: Mud\u00e9jar\u2019s Epic Journey Reinterpreted", "date": "2011", "keywords": "america; architecture; art; cultural; culture; islamic; latin; mud\u00e9jar; new; presence; process; spain; spanish; style; transculturation", "summary": "| ISSN 2155-1162 (online) | DOI 10.5195/contemp.2011.5 discussion of Latin American Mud\u00e9jar, the workers\u2019 bodies (this time indigenous) once again define the style. With the addition of Latin America to the story of Mud\u00e9jar, new questions arise \u2013 how is Latin American Mud\u00e9jar related to the original in Spain?", "mime": "application/pdf"}, {"id": "contemporaneity-56", "words": "8785", "extension": ".pdf", "flesch": "41", "author": "Greenwold, Diana", "title": "\u201cThe Great Palace of American Civilization\u201d: Allen Eaton\u2019s Arts and Crafts of the Homelands, 1919-1932", "date": "2014", "keywords": "american; arts; communities; crafts; culture; displays; e e; eaton; european; exhibition; homelands; immigrant; life; museum; new; objects; r e", "summary": "The article distinguishes immigrant craft objects from the \u201cself-sufficient\u201d work of European masters. If Eaton\u2019s exhibits elevated the status of immigrant craft, they also disengaged these same communities from full participation in contemporary American life.", "mime": "application/pdf"}, {"id": "contemporaneity-57", "words": "8019", "extension": ".pdf", "flesch": "46", "author": "Chau, Christina", "title": "Kinetic Systems: Jack Burnham and Hans Haacke", "date": "2014", "keywords": "art; burnham; esthetics; haacke; hans; kinetic; movement; sculpture; systems; systems art; systems theory; theory; time; visual; works", "summary": "The popularity of systems theory emerged concurrently with a number of complementary emerging theories in art theory and criticism. Burnham\u2019s emphasis on the movement of systems art, rather than the movement of kinesis, is more than a syntactical argument.", "mime": "application/pdf"}, {"id": "contemporaneity-58", "words": "6833", "extension": ".pdf", "flesch": "59", "author": "Tsang, Winnie", "title": "Creating National Narrative: The Red Guard Art Exhibitions and the National Exhibitions in the Chinese Cultural Revolution 1966 - 1976", "date": "2014", "keywords": "art; e n; e t; exhibitions; h e; l t; n t; r e; r t; red; t h", "summary": "Two major groups of art exhibitions emerged during the Revolution\u2014the unofficial Red Guard art exhibitions organized by student activists in collaboration with local communes and art schools between 1966 and 1968, and the state-run national exhibitions from 1972 to 1975. She has published essays on the subjects of nude and commercial art, and has given two papers on propaganda art and art exhibitions during the Chinese Cultural Revolution at the University of Pittsburgh and the Ohio State University.", "mime": "application/pdf"}, {"id": "contemporaneity-73", "words": "7080", "extension": ".pdf", "flesch": "63", "author": "H\u00f6nes, Hans Christian", "title": "Enlivening and - Dividing: An Aporia of Illumination", "date": "2015", "keywords": "antique; art; author; b\u00f6ttiger; contemp.2015.73; contemporaneity; culture; der; des; die; dresden; figure; karl; n d; n h; n s; online; presence; statues; torchlight; und; vol", "summary": "In 1798, Karl August B\u00f6ttiger paid a nocturnal visit to the Gallery of Antiques in Dresden, illuminating the statues with a torch. For B\u00f6ttiger\u2019s interest in Knight\u2019s writings, see: Karl August B\u00f6ttiger, \u201cUeber Richard Payne Knight,\u201d Amalthea 3 (1825): 408-418.", "mime": "application/pdf"}, {"id": "contemporaneity-77", "words": "6826", "extension": ".pdf", "flesch": "54", "author": "Mamou, Regina", "title": "Mapping Collected Memory: An Exploration of Memory-Based Navigation in Amman, Jordan", "date": "2014", "keywords": "amman; c o; city; d n; e m; m o; memory; o l; o r; r e", "summary": "Coincidentally or not, citizens of Amman experience an \u201caversion to using street maps,\u201d as al-Asad commented in Urban Crossroads.7 In navigating Amman, there is an integration of formal and informal systems, which has enforced the memorization of the city\u2019s history and labeling systems. Individuals responded to a series of questions in relation to city routes and the memorization of particular areas of each metropolis.", "mime": "application/pdf"}, {"id": "contemporaneity-80", "words": "6401", "extension": ".pdf", "flesch": "46", "author": "Kondo, Masaki", "title": "Unfolding the In-between Image: The Emergence of an Incipient Image at the Intersection of Still and Moving Images", "date": "2014", "keywords": "art; duration; film; hannah; image; moment; moving; photography; tableaux; vivants; wall", "summary": "Although the intensity of photographic images pertains to the past and the extensivity of cinematic images to the present, the objects themselves are missing from both types of images. Perhaps Wall\u2019s perfectionism is its own deliberate undoing, allowing the viewer an entry point.23 The sense of idealistic perfection felt in this work, nevertheless, embodies what Wall has been working on since the mid-1970s in order to revolutionize our sense of photographic image.", "mime": "application/pdf"}, {"id": "contemporaneity-81", "words": "6315", "extension": ".pdf", "flesch": "46", "author": "Lysen, Flora", "title": "What to do with the \u201cMost Modern\u201d Artworks? Erwin Panofsky and the Art History of Contemporary Art", "date": "2014", "keywords": "american; art; barr; contemporary; distance; erwin; history; new; panofsky; perspective; sweeney; vol; york", "summary": "This association of the American academia with the objectivity of the Renaissance and the superiority Panofsky thus granted to the field of American art history must be understood in light of the political context of the 1930s. (1953).34 For Americans, Europe could merge into \u201cone panorama,\u201d Panofsky said, whereas European scholars were preoccupied with questions of which country was the first to invent the cubiform capital or the rib-vault.35 Unbiased by nationalism, detached from the cultural and intellectual roots of the objects, the Americans were not only more apt to look at the past, \u201cso were they able to see the present in a perspective picture undistorted by personal 30 Erwin Panofsky and Charles Rufus Morey, Memorandum on Immediate and Future needs for Research in Art and Archeology in the School of the Humanities of the Institute of Advanced Study (October 1935), partly reprinted in Korrespondenz vol. 2, 539.", "mime": "application/pdf"}, {"id": "contemporaneity-87", "words": "7189", "extension": ".pdf", "flesch": "51", "author": "Nelson, Roger", "title": "On the Coevalities of the Contemporary in Cambodia: Review: Sampot: The Collection of Small Things by Chan Dany", "date": "2014", "keywords": "art; artist; cambodia; chan; collection; contemporaneity; contemporary; culture; kbach; khmer; phnom; sampot", "summary": "Chan\u2019s interest in habits of dress is symptomatic of a larger issue: the coevality of ancient and new cultural forms.9 In contemporary Cambodia, most young men and women tend to dress in what they generally refer to as \u201cforeign/Western\u201d (!\u17c6\u1784 \u00a0barang) or \u201cmodern\u201d styles of clothing, except for at special occasions such as weddings. I am grateful to the artists and curators Chan Dany (!\u1793\u17cb \u00a0!\u1793\u17b8), Khvay Samnang (\u17c3\u1781# \u00a0\u179f\u17c6#\u1784), Lim Sokchanlina (\u179b\u17b8\u1798 \u00a0\u179f\u17bb\u1781$\u1793\u17cb\u179b\u17b8)), Erin Gleeson and Vuth Lyno (\u179c\u17bb\u1792 \u00a0\u179b\u17b8\u178e$) for conversations during 2012, 2013 and 2014 that have assisted in the development of many of the ideas I articulate here.", "mime": "application/pdf"}, {"id": "contemporaneity-96", "words": "9629", "extension": ".pdf", "flesch": "46", "author": "Young, India", "title": "Culture v. Capital: The Rebecca Belmore Case", "date": "2014", "keywords": "art; artist; belmore; canadian; case; culture; gallery; knowledge; legal; nadimi; nations; peoples; performance; system; value; works", "summary": "In the statement of claim, Nadimi wrote, \u201cIn 2005, Belmore 41 Rebecca Belmore. Indigenous knowledge systems alternatively emphasize the importance of relationships, as does Belmore through her artworks and through her public defense.", "mime": "application/pdf"}, {"id": "contemporaneity-98", "words": "8328", "extension": ".pdf", "flesch": "62", "author": "McAuliffe, Chris", "title": "Trying to Live Now: Chronotopic Figures in Jenny Watson\u2019s A Painted Page Series", "date": "2014", "keywords": "art; e s; jenny; new; o t; page; painting; r e; taylor; time; twiggy; watson", "summary": "98-328-10-LE Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.98 http://contemporaneity.pitt.edu Trying to Live Now Chronotopic Figures in Jenny Watson\u2019s A Painted Page Series Chris McAuliffe Abstract Between late 1979 and early 1980, Australian artist Jenny Watson painted a sequence of six works, each with the title A Painted Page. Between December 1979 and June 1980, Australian artist Jenny Watson made a series of six paintings, each with the primary title A Painted Page.", "mime": "application/pdf"}]