item: #1 of 130 id: contemporaneity-101 author: Ogrodnik, Benjamin title: Today's Cutting Edge is Tomorrow’s Obsolete: An Interview with Cory Arcangel and Tina Kukielski date: 2014 words: 4594 flesch: 68 summary: Ogrodnik Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.101 http://contemporaneity.pitt.edu Today’s Cutting Edge is Tomorrow’s 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’s 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’s career. keywords: cory; work cache: contemporaneity-101.pdf plain text: contemporaneity-101.txt item: #2 of 130 id: contemporaneity-106 author: Tello, Veronica title: Counter-Memory, Heterochronia, and “History Painting” (After Géricault): Dierk Schmidt’s SIEV-X—On a Case of Intensified Refugee Politics date: 2014 words: 7819 flesch: 48 summary: See for example: Dierk Schmidt, “What 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,” in Schmidt, ed., In order to “come to new findings” on SIEV-X, argued Schmidt, he would initiate conversations and interview personnel from the Australian 13 Lars Bang Larsen, “Dierk Schmidt: Packing the Hard Potatoes,” Afterall 29 (Spring, 2012): 120. keywords: e r; history; image; painting; politics; r o; refugee; schmidt; siev; t e; work cache: contemporaneity-106.pdf plain text: contemporaneity-106.txt item: #3 of 130 id: contemporaneity-107 author: Recktenwald, Olaf title: Review: From Ornament to Object: Genealogies of Architectural Modernism by Alina Payne date: 2014 words: 1837 flesch: 45 summary: Her concern lies in Semper’s 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’s From Ornament to Object: Genealogies of Architectural Modernism, published in 2012 by Yale University Press. keywords: architectural; century; object; ornament; payne cache: contemporaneity-107.pdf plain text: contemporaneity-107.txt item: #4 of 130 id: contemporaneity-111 author: Randolph, Kira title: Vision and Desire in Postcolonial Australia: A Conversation with Alison Ravenscroft date: 2014 words: 2200 flesch: 51 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—to country, say, or to body, to flesh and feeling—are unsettled and denaturalized in our encounters with Indigenous arts. keywords: aboriginal; art; eye; ravenscroft; visual cache: contemporaneity-111.pdf plain text: contemporaneity-111.txt item: #5 of 130 id: contemporaneity-112 author: Smith, Terry; Mathur, Saloni title: Contemporary Art: World Currents in Transition Beyond Globalization date: 2014 words: 7101 flesch: 53 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. keywords: art; contemporaneity; contemporary; culture; history; kind; n t; new; terry; world cache: contemporaneity-112.pdf plain text: contemporaneity-112.txt item: #6 of 130 id: contemporaneity-113 author: Eschenburg, Madeline title: Artificial Hells: A Conversation with Claire Bishop date: 2014 words: 2415 flesch: 49 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. keywords: art; bishop; participatory; work cache: contemporaneity-113.pdf plain text: contemporaneity-113.txt item: #7 of 130 id: contemporaneity-114 author: Gopinath, Gabrielle title: Skin Deep: Surfacing with Leigh-Ann Pahapill date: 2014 words: 1963 flesch: 54 summary: All four videos offer surface views, looped sequences shot during the show’s installation process. Here, plastic sheeting proved an apt vehicle for exploring simultaneity and surface. keywords: culture; gallery; pahapill; surface; videos; way cache: contemporaneity-114.pdf plain text: contemporaneity-114.txt item: #8 of 130 id: contemporaneity-116 author: Cymbala, Amy title: Editorial Notes: Exhibition Complex: Displaying People, Identity, and Culture date: 2014 words: 292 flesch: 28 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 keywords: symposium cache: contemporaneity-116.pdf plain text: contemporaneity-116.txt item: #9 of 130 id: contemporaneity-119 author: Khoshgozaran, Gelare title: Artist Statement: rial and tERROR date: 2014 words: 712 flesch: 40 summary: As a result, rial and tERROR was a short film that, through the usage of found archival material—pre-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.—created 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 “fun” 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. keywords: rial; university cache: contemporaneity-119.pdf plain text: contemporaneity-119.txt item: #10 of 130 id: contemporaneity-13 author: Barker, Timothy title: Re-Composing the Digital Present date: 2011 words: 8363 flesch: 53 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. keywords: culture; deleuze; digital; images; memory; new; online; past; present; r e; screen; time; work cache: contemporaneity-13.pdf plain text: contemporaneity-13.txt item: #11 of 130 id: contemporaneity-130 author: Kovach, Jodi title: Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana date: 2016 words: 7338 flesch: 39 summary: C opyright Carlos Garaicoa. Abstract Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. keywords: architecture; art; baroque; building; carlos; contemporary; cuba; garaicoa; havana; latin; modern; new; present; ruins; urban; world cache: contemporaneity-130.pdf plain text: contemporaneity-130.txt item: #12 of 130 id: contemporaneity-131 author: Young, Allison K. title: We Never Did Return: Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art date: 2015 words: 10274 flesch: 56 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. keywords: africa; art; artist; contemporaneity; culture; day; e n; film; gallery; history; online; penny siopis; presence; siopis; south; time; vol cache: contemporaneity-131.pdf plain text: contemporaneity-131.txt item: #13 of 130 id: contemporaneity-132 author: Huebner, Karla title: Nostalgia and La Jetée date: 2015 words: 6966 flesch: 59 summary: Owl Creek Bridge run in either direction has the “elusive,” “insubstantial and irretrievable” quality Mulvey attributes to the medium of film, but La Jetée, 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 Jetée Karla Huebner keywords: bensmaïa; boym; experience; film; future; ibid; jetée; la jetée; marker; nostalgia; protagonist; time cache: contemporaneity-132.pdf plain text: contemporaneity-132.txt item: #14 of 130 id: contemporaneity-141 author: Shine, Tyler title: Taboo Icons: The Bodily Photography of Andres Serrano date: 2015 words: 9571 flesch: 49 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’s dramatic use of light to Baroque aesthetics in Quoting Caravaggio, while Amelia Arenas describes Serrano’s photographs as conjuring up a Baroque theatricality for aesthetic overload in her essay “The Revelations of Andres Serrano,” in Andres Serrano: Body and Soul, ed. 184. 75 See for example Michael Kimmelman, “Serrano Focuses on Death,” New York Times, February 5 1993, C3; Peter Schjeldahl, “Art after Death,” The Village Voice, February 16 1993, 91; Andrea D. Fitzpatrick, “Reconsidering the Dead in Andres Serrano’s The Morgue: Identity, Agency, Subjectivity,” Canadian Art Review (2008), 33. keywords: andres; art; body; christ; contemp.2015.141; contemporaneity; culture; death; images; medieval; new; online; photographs; piss; presence; serrano; vol; york cache: contemporaneity-141.pdf plain text: contemporaneity-141.txt item: #15 of 130 id: contemporaneity-142 author: Murphy, John title: Exhibition Review: Regina Mamou “Unfortunately, It Was Paradise” Chicago, IL, City Gallery in the Historic Water Tower October 2013 - January 19, 2014 date: 2015 words: 2238 flesch: 58 summary: The communities photographed by Mamou share a curious afterlife as historical landmarks, tourist attractions, and perhaps, ironic evidence of utopia’s 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 keywords: mamou; print cache: contemporaneity-142.pdf plain text: contemporaneity-142.txt item: #16 of 130 id: contemporaneity-143 author: Allen, Matthew title: Compelled by the Diagram: Thinking through C. H. Waddington’s Epigenetic Landscape date: 2015 words: 8245 flesch: 47 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: “The modern skeletal 5 For Waddington’s bibliography, see Alan Robertson, “Conrad Hal Waddington. keywords: biology; conrad; culture; images; l e; l l; landscape; online; vol; waddington cache: contemporaneity-143.pdf plain text: contemporaneity-143.txt item: #17 of 130 id: contemporaneity-144 author: Castillo, Greg title: Spinifex People as Cold War Moderns date: 2015 words: 10769 flesch: 50 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 “poisoned” 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’s cold war diaspora became a matter of legal record in their native title claim. 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 cache: contemporaneity-144.pdf plain text: contemporaneity-144.txt item: #18 of 130 id: contemporaneity-149 author: Iker, Annemarie title: Photographs of the “Dust of the Highway”: Georgiana Goddard King’s Way of Saint James date: 2016 words: 11819 flesch: 52 summary: But if Porter came to overshadow King in her lifetime, and eventually, to eclipse her entirely, it was not always so: “The American pioneer in this r ich field was a woman,” wrote Wethey, “Professor Georgiana Goddard King. 46 Mann, “Georgiana Goddard King,” 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 “A gency in Motion” (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 Mâle, 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, “King and her work have all but vanished from current scholarly memory. keywords: art; compostela; de las; james; king; las; medieval; photographs; pilgrimage; porter; puerta; puerta de; romanesque; saint; saint james; santiago; santiago de; sculpture; way cache: contemporaneity-149.pdf plain text: contemporaneity-149.txt item: #19 of 130 id: contemporaneity-150 author: Jagoda, Patrick title: Network Ambivalence date: 2015 words: 4633 flesch: 43 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’s 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. keywords: aesthetics; ambivalence; culture; form; game; media; networks; new; online; presence; present; university cache: contemporaneity-150.pdf plain text: contemporaneity-150.txt item: #20 of 130 id: contemporaneity-151 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 words: 9835 flesch: 64 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’s 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. keywords: art; c t; o r; t o cache: contemporaneity-151.pdf plain text: contemporaneity-151.txt item: #21 of 130 id: contemporaneity-152 author: Langmead, Alison; Byers, Dan; Morton, Cynthia title: Curatorial Practice as Production of Visual and Spatial Knowledge: Panelists Respond date: 2015 words: 2689 flesch: 50 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. keywords: art; museum cache: contemporaneity-152.pdf plain text: contemporaneity-152.txt item: #22 of 130 id: contemporaneity-153 author: Minglu, Gao title: Foreword ?? date: 2015 words: 989 flesch: 53 summary: 2014 .'*�;Y� OK��� Hey Ellenû � Rî�H¤�æ Rt�ǟŐƖƢŁ�ŊȝƖdzǵ�)Ô��ĘŁ:��ƙÜ��ƖǶùŔƟƫƖ �ĘʼnqÜ�´��ĸ�ƙ_ƖĜŊJDȿŷǛ�´ā<ǟŐ�)Ô�� t��8ơ¿ÐHŀ�Ę�ŏŁ đÐ&ēÆrĸǟÂ`ǟŐ�GȽŀĘ�'�Ǡ�´ā<ǟŐ�ãǮa¥ýôfÓ=Ť�ĘŨ�ȂĸƖ�ə �óŀU�ĘÜ+�´ĸ�Ɩ'ǷȦ�Ŋɏ�=ǜ+āŀĘô�ƢÓǛëŁ¡ņǷ'ĘƖĜDZĜɊ�GȽƢ Ł�Ć_ɆƖm\Ž�:Ƚ=�ȚĘLjljÐ&�´Ɩ���ĸ�ªȍǹ�Ǜ 2010 m K�ǂñ°t�2� ȩȤ#ɉĘĔǵǛëÜȯɂƖā<ǟŐ0ƍ'ŇųƖ^ɜ� �ȁţŁ±�ĘĭǸȯ�ɗ¼ŧȦł¢�ľŬƋǷƜvƖ�´ǟŐƖ¹Ń9��·Ƙ ǑƉ7%ľŬÒ ]ȼ[ȯƧĐg �Ƞĸ�#ɉēČƖǬȪǽĘƝȳ��?ǟŐ«ĜEȪƖēČŁËK·��ƖèǴǖŃ� ȤĪ�ȯ?ǟŐ«·��DzBƖƜ���D±�ȯ.DzBƖĶǕĸ�ǖŃǑǮȋɁ���ƖÓ�L��� ƥȧªƂȧƩũtǍ´�ô�ŊõÄŢj¾ļŶƌǜñI�Ęɒ=Ǝ¸¼ƖƑɏŔÓĘŁȑ�GŁ�Ęƒ ēt——Q��´Ɩ��ŷȱŰɇ�ØĽƖŞŷ�=·���¸ĻȴŸt�i��ƻ�ǑĆÄ�´ǟŐت ȄȂØƖL«ȿŁų�ȯƧELJă¬��Ť�ŀ�ǃ�'ľķā¸ª]Ɗ�ekǑ0ƍƖZƸ�pú“ÖT” �j¡gp��2�ë�;�´nǼȂ“ELJ”ȯ�ŠĉƖÜȉ��ŝ¸�Ę%Ćđ'Ƿ“ELJ” t�/À; Ellen ���>�� Madeline, Ü�ȯ�uézNJƖƅȨû�}�>øȌÔx�ǁ���>Łȑ��>�Ǜª^�Ü+ȯ��ÖƖƘŜ BDžÜĻƖɈə�Sȯ�/ŰƖȫÓ û�j¡Ƴ�ɌȲĘ>Ü+Ƭ¸ȯ�ŠĉƖƋǷ=�ȯ�Šĉªa ;ÐŐɗ¼Ɩ_Ʒ�Ȯ  Rt�ǟŐƑdȾțŔțƹaÇǔÙ� ǩº�>ȫ�Ŋǧ��Ɩĵ)�Gā�Ę>ȿ·�2Ð&Nóû1�ȯ�ƅsÇ&ɛ�ȯťǂ��6 ǽĘ>Ňųu¸ƋǷ�´ȍèû��=�ĸ��ŇǽĘ>3ȣJD�´ǟŐªƤDƉ¾� Thoughts & Things 01���� Madeline Eschenburg and Ellen Larson 1 7 0 T h keywords: > �; art; artists; beijing; china; contemporary; culture; ellen; history; rt �; ´ �; ęǻ �; ſǒ �; ǟő �; ɩ �; � >; � madeline; � ´ā; � ę; � ĝ; � ǻ; � ȯ; � � cache: contemporaneity-154.pdf plain text: contemporaneity-154.txt item: #24 of 130 id: contemporaneity-155 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 words: 5839 flesch: 84 summary: But if you want to talk about the difference between 画画 (paint painting) and 画家 (painter), artists are really annoying, but 画 画 (paint painting) is good. One of No Name Painting Group’s teaching figures talked about 画画儿 (paint painting) adding that Beijing “er” (儿) sound. keywords: art; painting; time cache: contemporaneity-155.pdf plain text: contemporaneity-155.txt item: #25 of 130 id: contemporaneity-156 author: Eschenburg, Madeline title: Thoughts & Things 02 ???? date: 2015 words: 5646 flesch: 68 summary: ��¸D�Ą[[>�ÝôL?dl(ȇůfƪ ĸç�ȑŬƺa�¥#iĉ¥u/Ů798 ƪĸv IJ,��ŪçÖE ǧIJŸƀ�¡î7ƪĸŮƓȒ�ĉ ÝK �ġ Anna Eschbach, Q�Ĕƻ���, ¥¡Z³Ú¨ŐIJƁǿŮƪĸïê ƪĸÌ�ƪĸ��ĘH��ß�īw`ǹƲŮ� 2. ãNj�5 �LÝ ā�ßǨ ǾȎ�è�ġ�ƻ�ƪĸd&Ýè�IJě{ ��Ýġ��[d&«Ĝ� tIõ¢ę`ÙÝ�ø�SQė_�ġlj¢,6Bd�&RQÓĐÝƪĸnjĂ�è�ġƪĸÙĖ&�dƪĸ l{{·ÿ�ÚÝ�Ʒ�ƪĸÙÝ Āāùģêu��DžǂlQƪĸƎƐñġbē7²×�Ĥd�·āùÝ �r�ƪĸÙ�Ú�d�āùÝÜ7Å�ǁa�3���¢ªd�ƪĸlġH²È·öƷ�dž8Ǩä×dÅ (�~ýÝŢÉġXÃÈ· p,6���ĀÝüp��öws{{²“ U�Ýd�” ][jĸǂ«Ė�ï uĖġÿƴ�EǾ“ ���H·'� d�” ĥ�9�ǼƳûݤǾġ�ƽ��Ţ“ U�” �ñ“ r¨” Ý �É� è�ġs�ƴo%!ġĜÎÕȍ��goġd�µm±ČA�¦��ŞÐö�ġǨ�Ď��d� ƪĸl9år�ÊcÝŢăġÎÔ���í�ª ��Q=�Þ:ġ�²�gÑÌ�Ý� �Ì�èWġ ƪĸlv&Ĩ��Ĕ�yÓQãnġÑg²��Óö­ü�ěĨġ��Ţ&��$d�ġµ2·<ą��� DV»ÉÝd�ġĞ.�!ά�.Ö}Č�ġ��µm±Ǘ�ć�Ý¥ Qz<ġµm±�çȄ�Ă> ÝV�QDeġ�ò)��ěġÑg²Î���§��Ý Ȏ�Ǥć�Ý��Ò4� 3. keywords: art; art world; artists; china; contemporary; d �; experience; female; field; gender; professional; women; work; world; ǩ �; � contemporaneity; � feminism; � ý; � ĉ; � � cache: contemporaneity-156.pdf plain text: contemporaneity-156.txt item: #26 of 130 id: contemporaneity-157 author: Eschenburg, Madeline; Larson, Ellen title: The Round Table 03 ??: A Conversation with Xu Bing date: 2015 words: 2465 flesch: 76 summary: Therefore, Chinese young people are able to see things within a much wider span. I think Chinese young people are very thoughtful, actually. keywords: people; time cache: contemporaneity-157.pdf plain text: contemporaneity-157.txt item: #27 of 130 id: contemporaneity-158 author: Tyquiengco, Marina title: Decoding Double Desire: A Conversation with Ian McLean date: 2015 words: 2052 flesch: 46 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 “Indigenous contemporary art” (i.e. Indigenous art that aims to be part of this discourse of contemporary art), rather than the more usual expression “contemporary Indigenous art.” keywords: art; contemporary; desire; mclean cache: contemporaneity-158.pdf plain text: contemporaneity-158.txt item: #28 of 130 id: contemporaneity-161 author: Kafer, Gary title: Documenting the Invisible: Political Agency in Trevor Paglen’s Limit Telephotography date: 2016 words: 10185 flesch: 40 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 “blank spots on the map.”16 Rather, Paglen asserts that the political agency of his can be located not in the image, but in the practice of performing limit telephotography—standing on public land and excercising the right to photograph. keywords: art; geography; images; limit; military; motion; new; paglen; politics; practice; production; sites; space; surveillance; telephotography; work; world cache: contemporaneity-161.pdf plain text: contemporaneity-161.txt item: #29 of 130 id: contemporaneity-170 author: Hawley, Elizabeth S title: James Luna and the Paradoxically Present Vanishing Indian date: 2016 words: 10286 flesch: 54 summary: Nearly a century later contemporary Luiseño performance artist James Luna used the occasion of Columbus Day to stage a work that indeed proved DeCora’s prediction of the endurance of what she termed “Indian art” 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’s performances interrogate how representations of Native Americans have been made to fit western assumptions about the “real Indian.” keywords: american; curtis; e l; e s; gency; indian; luna; museum; n c; n d; native; performance; photographs; picture; real cache: contemporaneity-170.pdf plain text: contemporaneity-170.txt item: #30 of 130 id: contemporaneity-176 author: Ramirez, Loretta title: David Lamelas’s The Desert People: An Odyssey for Authentic Representation date: 2016 words: 3163 flesch: 59 summary: C opyright David Lamelas, images courtesy of Maccarone, Sprüth Magers, and Jan Mot. C opyright David Lamelas, images courtesy of Maccarone, Sprüth Magers, and Jan Mot. keywords: desert; film; lamelas; people; time cache: contemporaneity-176.pdf plain text: contemporaneity-176.txt item: #31 of 130 id: contemporaneity-177 author: Kong, Carlos title: SuperQueeroes – Our LGBTI* Comic Book Heroes and Heroines Schwules Museum*, January 22-June 26, 2016 date: 2016 words: 2862 flesch: 33 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—independent 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’s post-Stonewall comics artists. Northstar’s 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. keywords: book; comics; exhibition; gay; lgbti; mainstream; politics; queer; superqueeroes cache: contemporaneity-177.pdf plain text: contemporaneity-177.txt item: #32 of 130 id: contemporaneity-182 author: Peters, Erin A title: Curator—Curatorial Studies Towards Co-creation and Multiple Agencies date: 2016 words: 3634 flesch: 37 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—a 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—can be useful. keywords: agency; art; curator; museum; practice; space cache: contemporaneity-182.pdf plain text: contemporaneity-182.txt item: #33 of 130 id: contemporaneity-183 author: Gilchrist, Stephen; Skerritt, Henry title: Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt date: 2016 words: 5997 flesch: 61 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 “indigenize” their institutions. Henry F. Skerritt is curator of Indigenous art of Australia at the Kluge-Ruhe Aborigina l Art Collection, University of Virginia. keywords: art; n d; objects cache: contemporaneity-183.pdf plain text: contemporaneity-183.txt item: #34 of 130 id: contemporaneity-184 author: Nordgaard, Ingrid title: Documenting/Performing the Vulnerable Body: Pain and Agency in Works by Boris Mikhailov and Petr Pavlensky date: 2016 words: 13061 flesch: 48 summary: 42 Marc Bennetts, “A c ts of Res istance: P yotr P avlensky on P erformance A rt as P rotest,” 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 (юродивый). P erformance action with photographic documentation, Moscow, Russ ia. 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 cache: contemporaneity-184.pdf plain text: contemporaneity-184.txt item: #35 of 130 id: contemporaneity-185 author: Scalissi, Nicole F.; Johnson, Annika title: Agency in Motion: Editorial Statement date: 2016 words: 70067 flesch: 49 summary: Interpreting a Half C entury of Revolution and Res istance, P art 2 ,” special is sue, Latin American Perspectives 36 , no. 2 (March 2009): 114-127. Image C ourtesy Harvard A rt Museums, © P res ident and Fellows of Harvard C ollege. 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 cache: contemporaneity-185.pdf plain text: contemporaneity-185.txt item: #36 of 130 id: contemporaneity-186 author: Ozga, Kasia title: The Internal Frontier: How Art at Once Problematizes Borders and Draws us Closer to Them date: 2017 words: 8169 flesch: 44 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. keywords: border; boundless; contemp.2017.186; contemporaneity; culture; frontier; http://contemporaneity.pitt.edu/; identity; images; online; ozga; polish; presence; rays; time; united; vol; world cache: contemporaneity-186.pdf plain text: contemporaneity-186.txt item: #37 of 130 id: contemporaneity-20 author: Buhe, Elizabeth title: Waiting for Art: The Experience of Real Time in Sculpture date: 2011 words: 10111 flesch: 55 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’s 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’s terms. keywords: anxiety; art; beholder; culture; duration; experience; kapoor; object; presence; sculpture; space; time; time sculpture; viewer; waiting; work cache: contemporaneity-20.pdf plain text: contemporaneity-20.txt item: #38 of 130 id: contemporaneity-206 author: Wilhelm, Thorsten title: Historical Contemporaneity and Contemporaneous Historicity: Creation of Meaning and Identity in Postwar Trauma Narratives date: 2017 words: 9924 flesch: 52 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 “Boundless” (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.206 Generational Trauma Like other narratives, trauma narratives follow a process of “coding, weighting, and narrating,”1 constituting a co(n)temporaneous past that exceeds the bare facts. | DOI 10.5195/contemp.2017.206 Wiesel’s Night and the implications of his “vow” deserve reevaluation considering intergenerational trauma narratives, especially since Wiesel claims that his work is born from silence. keywords: alexander; contemporaneity; generation; holocaust; identity; individual; memories; memory; narrative; new; o r; past; present; trauma cache: contemporaneity-206.pdf plain text: contemporaneity-206.txt item: #39 of 130 id: contemporaneity-215 author: Lambright, Julia title: SYNAXIS date: 2017 words: 681 flesch: 36 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 “Boundless” (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. keywords: culture; lambright cache: contemporaneity-215.pdf plain text: contemporaneity-215.txt item: #40 of 130 id: contemporaneity-22 author: Chung, Hye Jean title: Cinema as Archeology: The Acousmêtre and the Multiple Layering of Temporality and Spatiality date: 2011 words: 7561 flesch: 48 summary: Her image is always several temporal layers removed from the present, as it is mediated through the photographer’s video camera or the filmmaker’s movie camera.27 The conflict between the photographer and his wife – in their personal relationship as a married couple and in their national identification with Armenia – 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 mamá también, where the plurality of temporal and spatial strata functions as an empowering, inclusive narrative device, the overwhelming layers of mediation – still photographs, video footage, and film images – in Calendar immobilize the characters, thus implying that the distance between the two cannot be bridged. keywords: acousmêtre; cinema; film; image; past; power; presence; present; sound; time; visual; voice cache: contemporaneity-22.pdf plain text: contemporaneity-22.txt item: #41 of 130 id: contemporaneity-220 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 words: 3047 flesch: 37 summary: Examining the development of contemporary art from Brazil, her dissertation project is the first monographic approach to the work of Brazilian artist Letícia 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 “Boundless” (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.220 Lead Curator’s Statement The ideas for Data (after)Lives grew out of—and well beyond—conversations 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 Letícia Parente for her comprehensive examinations perfectly suited the themes and concepts behind the show. keywords: after)lives; art; data; medida; parente; pittsburgh; university cache: contemporaneity-220.pdf plain text: contemporaneity-220.txt item: #42 of 130 id: contemporaneity-221 author: Miramontes Olivas, Adriana; de Dios Mora, Juan; Caplow, Deborah title: Éxodo a la “tierra prometida”: Del demonio y otros monstruos en la obra de Juan de Dios Mora date: 2017 words: 7594 flesch: 64 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 número de muertes en la frontera E.U.-México es desconocido, las estadísticas de la Patrulla Fronteriza demuestran que, del 1º de octubre de 1997 al 30 de septiembre de 2013, hubo más de 6029 muertos.5 En tu grabado Rapto del emigrante vemos el paisaje dividido en dos por un camino. Completó su licenciatura en la Universidad de Texas de El Paso y la maestría en la Universidad de Texas de San Antonio. keywords: amo; arte; boundless; como; con; contemp.2017.221; contemporaneity; cuando; culture; del; dios; emigrante; eso; estados; está; forma; frontera; gente; grabados; hay; http://contemporaneity.pitt.edu/; inmigrantes; jdm; juan; las; los; mora; muchas; muy; más; méxico; nosotros; obra; online; papá; para; pero; por; porque; presence; que; qué; son; sus; también; tiene; una; unidos; vol cache: contemporaneity-221.pdf plain text: contemporaneity-221.txt item: #43 of 130 id: contemporaneity-222 author: Miramontes Olivas, Adriana; de Dios Mora, Juan; Caplow, Deborah title: Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks date: 2017 words: 7351 flesch: 68 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. keywords: amo; border; culture; immigrant; mexico; mora; people; states; united cache: contemporaneity-222.pdf plain text: contemporaneity-222.txt item: #44 of 130 id: contemporaneity-223 author: Pabst, Daniel; Di Cicco, Rae title: Untitled (Architectural Photography) date: 2017 words: 645 flesch: 43 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. keywords: boundless; daniel; pabst cache: contemporaneity-223.pdf plain text: contemporaneity-223.txt item: #45 of 130 id: contemporaneity-226 author: Scalissi, Nicole F. title: Firelei Báez: Bloodlines: The Andy Warhol Museum, February 17 – May 21, 2017 date: 2017 words: 2539 flesch: 43 summary: Contemporaneity: Historical Presence in Visual Culture Vol 6, No 1 “Boundless” (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.226 http://contemporaneity.pitt.edu Firelei Báez: Bloodlines The Andy Warhol Museum, February 17 – May 21, 2017 Nicole F. Scalissi Exhibition Review Exhibition catalog: María Elena Ortiz, Firelei Báez: 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 “H.” Figure 1 Installation view of Firelei Báez: Bloodlines with (left to right) keywords: andy; bloodlines; báez; color; firelei; museum; warhol cache: contemporaneity-226.pdf plain text: contemporaneity-226.txt item: #46 of 130 id: contemporaneity-227 author: Pearson, Steven title: Multiple Temporalities, Layered Histories date: 2017 words: 952 flesch: 36 summary: Contemporaneity: Historical Presence in Visual Culture Vol 6, No 1 “Boundless” (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. keywords: pearson cache: contemporaneity-227.pdf plain text: contemporaneity-227.txt item: #47 of 130 id: contemporaneity-228 author: Eschenburg, Madeline title: Bentu – Chinese Artists in a Time of Turbulence and Transformation: Suzanne Pagé, Laurence Bossé, Philip Tinari, and Claire Staebler, eds. date: 2017 words: 1809 flesch: 42 summary: Contemporaneity: Historical Presence in Visual Culture Vol 6, No 1 “Boundless” (2017) | ISSN 2153-5914 (online) | DOI 10.5195/contemp.2017.228 http://contemporaneity.pitt.edu Bentu – Chinese Artists in a Time of Turbulence and Transformation Suzanne Pagé, Laurence Bossé, 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. keywords: artists; chinese; contemporary; liu; philip; time cache: contemporaneity-228.pdf plain text: contemporaneity-228.txt item: #48 of 130 id: contemporaneity-229 author: Gunn, Chelsea title: Fantasies of the Library: Anna-Sophie Springer and Etienne Turpin, eds. date: 2017 words: 1448 flesch: 31 summary: Springer’s “Melancholies of the Paginated Mind” establishes several of the book’s 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. keywords: book; fantasies; information; library; springer cache: contemporaneity-229.pdf plain text: contemporaneity-229.txt item: #49 of 130 id: contemporaneity-230 author: Larson, Ellen title: Zhang Peili: Record. Repeat. date: 2017 words: 1834 flesch: 46 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’s expectations, disrupting the accepted notion that artworks and moving images are created for the sole purpose of entertainment. keywords: art; culture; peili; video; zhang cache: contemporaneity-230.pdf plain text: contemporaneity-230.txt item: #50 of 130 id: contemporaneity-231 author: Ogrodnik, Benjamin title: Dreamlands: Immersive Cinema and Art, 1905 – 2016: Whitney Museum of American Art, October 26, 2016 – February 5, 2017 date: 2017 words: 1961 flesch: 38 summary: Also noteworthy is the exhibition’s break away from the two dominant modes of historicizing experimental media artists. The big question driving Iles’s show is: how can we better understand the way artists engage with moving images today? keywords: art; artists; cinema; dreamlands; film; iles; image cache: contemporaneity-231.pdf plain text: contemporaneity-231.txt item: #51 of 130 id: contemporaneity-232 author: Tyquiengco, Marina title: Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017 date: 2017 words: 2464 flesch: 40 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. keywords: aboriginal; art; artists; australia; empire; gallery; national cache: contemporaneity-232.pdf plain text: contemporaneity-232.txt item: #52 of 130 id: contemporaneity-233 author: Di Cicco, Rae title: Boundless: Art and Identification Across Borders date: 2017 words: 2781 flesch: 27 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. keywords: art; artists; boundless; contemporaneity; culture; exhibition; history; identity; online; presence cache: contemporaneity-233.pdf plain text: contemporaneity-233.txt item: #53 of 130 id: contemporaneity-236 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 words: 3639 flesch: 53 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’s knowledge of international graffiti history, honed as the webmaster of her site, Lady’s 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. keywords: artists; bruce; caitlin; frances; furnaces; graffiti; history; pittsburgh; site cache: contemporaneity-236.pdf plain text: contemporaneity-236.txt item: #54 of 130 id: contemporaneity-238 author: Price, Cecelia Ivy title: Coming to Confidence date: 2018 words: 631 flesch: 50 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. keywords: confidence; price cache: contemporaneity-238.pdf plain text: contemporaneity-238.txt item: #55 of 130 id: contemporaneity-239 author: Molldrem Harkulich, Christiana title: Gregg Deal's White Indian (2016): The Decolonial Possibilities of Museum Performance date: 2018 words: 3577 flesch: 46 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 “last of” 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—a push to remember and not forget the darker episodes of American history.3 Across both visual and performance art, Deal’s 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). keywords: art; blood; deal; gregg; indian; museum; performance; white cache: contemporaneity-239.pdf plain text: contemporaneity-239.txt item: #56 of 130 id: contemporaneity-240 author: Cristobal, Nik title: Kanaka '?iwi Critical Race Theory: Historical and Cultural Ecological Understanding of Kanaka '?iwi Education date: 2018 words: 9021 flesch: 44 summary: 28 Wright and Balutski, “Kanaka 'Ōiwi Critical Race Theory,” 98. 29 Kyle Kajihiro, “A Brief Overview of Militarization and Resistance in Hawai'i,” 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, “An Indigenized Phenomenology,” 88–91; Erin Wright and Brandi Balutski, “Ka 'Ikena a ka Hawai'i: Toward a Kanaka 'Ōiwi Critical Race Theory,” in Kanaka 'Ōiwi Methodologies: Mo'olelo and Metaphor, eds. keywords: culture; education; hawai'i; hawaiian; history; journal; kanaka; kanaka'ōiwicrit; kuleana; presence; press; race; race theory; theory; university; wright; āina; ōiwi cache: contemporaneity-240.pdf plain text: contemporaneity-240.txt item: #57 of 130 id: contemporaneity-241 author: Fozi, Shirin; Savage, Kirk title: Reflections on Race-ing the Museum, Two Years Later date: 2018 words: 1659 flesch: 42 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. keywords: art; history; museums; pittsburgh; race cache: contemporaneity-241.pdf plain text: contemporaneity-241.txt item: #58 of 130 id: contemporaneity-243 author: Ruiz Sánchez, Héctor 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 words: 8975 flesch: 41 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’ descriptions of photographs about Latino work and their use of specialized vocabulary to refer to specific kitchen utensils and construction tasks. keywords: community; culture; group; health; latino; ojo; ojo latino; online; participants; photographs; photovoice; pittsburgh; presence; project; public; research; university; work cache: contemporaneity-243.pdf plain text: contemporaneity-243.txt item: #59 of 130 id: contemporaneity-245 author: Kozal, Meghan title: Destruction and Solution date: 2018 words: 716 flesch: 44 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. keywords: online; presence; work cache: contemporaneity-245.pdf plain text: contemporaneity-245.txt item: #60 of 130 id: contemporaneity-250 author: Roca Gonzalez, Jezabeth title: Gringolandia date: 2018 words: 683 flesch: 31 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. keywords: culture; gringolandia cache: contemporaneity-250.pdf plain text: contemporaneity-250.txt item: #61 of 130 id: contemporaneity-253 author: Batrezchavez, Hazel title: Border Check date: 2018 words: 648 flesch: 43 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. keywords: batrezchavez; work cache: contemporaneity-253.pdf plain text: contemporaneity-253.txt item: #62 of 130 id: contemporaneity-255 author: Simko, Nick title: Football date: 2018 words: 777 flesch: 37 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 ¾ x 41 ¾ 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 ¾ in. keywords: culture; football; simko cache: contemporaneity-255.pdf plain text: contemporaneity-255.txt item: #63 of 130 id: contemporaneity-260 author: Scalissi, Nicole F title: “An Imagined Border of Safety, Humanitarian Relief, and Creativity”: J.M. Design Studio’s Other Border Wall Project date: 2018 words: 5052 flesch: 41 summary: wall prototype and various miles of border wall along the southwest border,” from San Diego, CA, to Brownsville, TX. The guidelines for the “Other Border Wall” RFP also stipulated “fully developed drawings, details or specifications are not desired or required,” allowing the designers some flexibility in approaching their prototypes.10 Along with supplying prototype images, all applicants or “offerors” 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. keywords: border; border wall; design; design studio; online; presence; prototype; studio; trump; wall cache: contemporaneity-260.pdf plain text: contemporaneity-260.txt item: #64 of 130 id: contemporaneity-261 author: Ogrodnik, Benjamin title: Blue Ruins: LaToya Ruby Frazier in Two Parts date: 2018 words: 1636 flesch: 46 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– November 18, 2017 Exhibition schedule: On the Making of Steel Genesis: Sandra Gould Ford, LaToya Ruby Frazier, The August Wilson Center, September 22– 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. keywords: center; ford; frazier; latoya; ruby cache: contemporaneity-261.pdf plain text: contemporaneity-261.txt item: #65 of 130 id: contemporaneity-262 author: Pardo Gaviria, Paulina title: Letícia Parente in Pacific Standard Time: LA/LA (Los Angeles/Latin America) date: 2018 words: 2411 flesch: 41 summary: Built over the course of the exhibition research, and containing, for example, the most complete catalog of Parente’s work to date, the library responded to the lack of regional studies on the subject and reflected this exhibition’s important contribution to the history of video art from Latin America and thus to contemporary art history. Situating Parente’s 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. keywords: america; art; latin; parente; university; video; work cache: contemporaneity-262.pdf plain text: contemporaneity-262.txt item: #66 of 130 id: contemporaneity-263 author: Brewer, Lily title: Unsettled: Exhibiting the Greater West date: 2018 words: 1291 flesch: 36 summary: Chocolate Room (1970–2004), 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’s exhibition Unsettled provides us with a new grammar called the Greater West, which invites artists to take back the frontier narrative from colonizing currents. keywords: artist; exhibition; museum; new; west; works cache: contemporaneity-263.pdf plain text: contemporaneity-263.txt item: #67 of 130 id: contemporaneity-264 author: Yarmohammad Touski, Golnar title: Modern Art in the Arab World: Primary Documents date: 2018 words: 1322 flesch: 38 summary: Here, he invokes historian Albert Hourani’s reflection, “the 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” (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. keywords: art; book; documents; world cache: contemporaneity-264.pdf plain text: contemporaneity-264.txt item: #68 of 130 id: contemporaneity-265 author: Lombard, Jacqueline title: The Invention of Race in the Middle Ages date: 2018 words: 1318 flesch: 39 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. keywords: heng; medieval; middle; race cache: contemporaneity-265.pdf plain text: contemporaneity-265.txt item: #69 of 130 id: contemporaneity-266 author: Johnson, Annika title: Lawrence Paul Yuxweluptun: Unceded Territories date: 2018 words: 1391 flesch: 33 summary: Yuxweluptun’s 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. keywords: artist; land; territories; willard; yuxweluptun cache: contemporaneity-266.pdf plain text: contemporaneity-266.txt item: #70 of 130 id: contemporaneity-267 author: Giordano, Rebecca L. title: 20/20: The Studio Museum of Harlem and the Carnegie Museum of Art date: 2018 words: 1790 flesch: 44 summary: One might describe it as an exhibition of largely postwar art by black artists that acknowledged—but did not coalesce into—a 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. keywords: 20/20; art; black; exhibition; harlem; museum cache: contemporaneity-267.pdf plain text: contemporaneity-267.txt item: #71 of 130 id: contemporaneity-268 author: Tyquiengco, Marina title: Presenting Race: Institutional Contexts and Critiques date: 2018 words: 1620 flesch: 35 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. keywords: art; history; museum; pittsburgh; race; university cache: contemporaneity-268.pdf plain text: contemporaneity-268.txt item: #72 of 130 id: contemporaneity-269 author: Henderson, Aaron title: Looking/Not Looking date: 2018 words: 629 flesch: 41 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’s 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. keywords: aaron; henderson cache: contemporaneity-269.pdf plain text: contemporaneity-269.txt item: #73 of 130 id: contemporaneity-27 author: Susik, Abigail title: The Man of these Infinite Possibilities: Max Ernst’s Cinematic Collages date: 2011 words: 13179 flesch: 52 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 André 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’s collection of essays, Les Pas perdus of 1924 (Gallimard, Nouvelle revue français). 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. keywords: aragon; breton; century; cinema; collages; contemp.2011.27; contemporaneity; culture; ernst; essay; film; h e; http://contemporaneity.pitt.edu/; max; motion; méliès; new; online; painting; presence; surrealist; t h; vol; war cache: contemporaneity-27.pdf plain text: contemporaneity-27.txt item: #74 of 130 id: contemporaneity-272 author: Moynihan, Conor title: Timelessness and Precarity in Orientalist Temporality: Mehdi-Georges Lahlou’s Aesthetics of Disorientation date: 2019 words: 10997 flesch: 47 summary: Contextualizing his work within a larger history of Orientalism, my argument begins first with Percy Bysshe Shelley’s poem “Ozymandias,” 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. keywords: aesthetics; art; culture; disability; east; georges; mehdi; new; o r; online; orientalism; performance; presence; queer; r e; s s; time; university; west; work cache: contemporaneity-272.pdf plain text: contemporaneity-272.txt item: #75 of 130 id: contemporaneity-280 author: Caya, Aimee title: “So shall yoe bee:” Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley date: 2019 words: 7674 flesch: 50 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/ “So shall yoe bee” Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley “So shall yoe bee:” 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. keywords: agnes; alabaster; beresford; beresford monument; church; culture; dead; death; effigies; inscription; living; medieval; monument; online; thomas; tomb; vol cache: contemporaneity-280.pdf plain text: contemporaneity-280.txt item: #76 of 130 id: contemporaneity-284 author: Miramontes Olivas, Adriana; Garcilazo, Gabriel title: From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex date: 2019 words: 9800 flesch: 53 summary: It also portrays the 1519 arrival of Hernán Cortés 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’s work at Centro Cultural Jardín Borda. 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 cache: contemporaneity-284.pdf plain text: contemporaneity-284.txt item: #77 of 130 id: contemporaneity-286 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 words: 9295 flesch: 56 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. 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 cache: contemporaneity-286.pdf plain text: contemporaneity-286.txt item: #78 of 130 id: contemporaneity-287 author: Mize, Ramey title: Sacred Substantiations: Lincoln Casts and Statuary in the American Imagination date: 2019 words: 9423 flesch: 57 summary: Volk’s direct impressions, or “true” images, of Lincoln’s visage and hands, provided the “blueprints,” 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’ ready provision of an “original” 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’s likeness in his 1887 Chicago monument, Abraham Lincoln: The Man. keywords: abraham; abraham lincoln; american; bronze; casts; culture; face; gaudens; hands; life; lincoln; mask; museum; new; presence; relics; saint; touch; university; volk; york cache: contemporaneity-287.pdf plain text: contemporaneity-287.txt item: #79 of 130 id: contemporaneity-288 author: Tyquiengco, Marina; Siebert , Monika title: Are Indians in America's DNA? date: 2019 words: 10063 flesch: 40 summary: For the majority of contemporary museum visitors, this engagement typically involves Indian images— 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. keywords: american; american indian; contemporaneity; contemporary; culture; e r; exhibition; gallery; history; images; indian; museum; n d; national; pocahontas; siebert cache: contemporaneity-288.pdf plain text: contemporaneity-288.txt item: #80 of 130 id: contemporaneity-290 author: Kibler Maxwell, Andrea title: Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance date: 2019 words: 2014 flesch: 46 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. keywords: art; cult; healing; images; miracles; saints cache: contemporaneity-290.pdf plain text: contemporaneity-290.txt item: #81 of 130 id: contemporaneity-291 author: Nygren, Christopher J. title: Raphael and the Redefinition of Art in Renaissance Italy date: 2019 words: 2057 flesch: 46 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. keywords: art; modernity; raphael; renaissance; williams cache: contemporaneity-291.pdf plain text: contemporaneity-291.txt item: #82 of 130 id: contemporaneity-292 author: Wargula, Carolyn title: Fujiwo Ishimoto Exhibition: From Marimekko Flowers to Ceramic Fruits in Dialogue with the Rinpa date: 2019 words: 1984 flesch: 52 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. keywords: exhibition; ishimoto; japanese; marimekko; museum; rinpa cache: contemporaneity-292.pdf plain text: contemporaneity-292.txt item: #83 of 130 id: contemporaneity-293 author: Reiff Conell, Sarah title: Art and Miracle in Renaissance Tuscany date: 2019 words: 1694 flesch: 42 summary: Nevertheless, they were certainly objects that figured centrally in devotees’ actions, and the author’s 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, “unlikely that they were taken to provide direct access to the divine” (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. keywords: art; chapter; guizzelmi; maniura; miracle cache: contemporaneity-293.pdf plain text: contemporaneity-293.txt item: #84 of 130 id: contemporaneity-297 author: Lombard, Jacqueline M. title: Yesterday's Contemporaneity: Finding Temporality in the Past date: 2019 words: 2019 flesch: 35 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. keywords: art; contemporaneity; edition; history; past; time; university cache: contemporaneity-297.pdf plain text: contemporaneity-297.txt item: #85 of 130 id: contemporaneity-298 author: Lombard, Jacqueline M. title: Erratum to: Miramontes Olivas, A., & Garcilazo, G. (2019). From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex. Contemporaneity: Historical Presence in Visual Culture, 8, 98-118. https://doi.org/10.5195/contemp.2019.284 date: 2019 words: 169 flesch: 15 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. keywords: contemporaneity cache: contemporaneity-298.pdf plain text: contemporaneity-298.txt item: #86 of 130 id: contemporaneity-31 author: Editors, The title: About Contemporaneity date: 2011 words: 1204 flesch: 29 summary: /UKR /ENU (Use these settings to create Adobe PDF documents best suited for high-quality prepress printing. /ETI /FRA /GRE /HEB /HRV (Za stvaranje Adobe PDF dokumenata najpogodnijih za visokokvalitetni ispis prije tiskanja koristite ove postavke. keywords: adobe; contemporaneity; culture; time cache: contemporaneity-31.pdf plain text: contemporaneity-31.txt item: #87 of 130 id: contemporaneity-314 author: Blomfield, Nina; Loney, Katie title: “India in America”: A Curatorial Conversation on the Work and Practice of Lockwood de Forest and The Ahmedabad Wood Carving Company date: 2021 words: 7081 flesch: 53 summary: “All-Over Design”: 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’s craftsmen, and de Forest’s elite female patrons: Baltimore railroad heiress Mary Garrett and Bryn Mawr College president M. Carey Thomas. keywords: ahmedabad; art; bryn; bryn mawr; college; de forest; forest; lockwood; mawr; work cache: contemporaneity-314.pdf plain text: contemporaneity-314.txt item: #88 of 130 id: contemporaneity-315 author: Finkelstein , Emi; Loney, Katie title: Mobility & Exchange: Moving Across/Through Cultures date: 2021 words: 2508 flesch: 41 summary: While mobility and exchange between people, nations, and cultures have been shifted by many moments in world history—including 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—the 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. keywords: art; contemporaneity; cultures; exchange; mobility; work; world cache: contemporaneity-315.pdf plain text: contemporaneity-315.txt item: #89 of 130 id: contemporaneity-316 author: Kupfer , Paula ; Eisensmith, Jacob title: Questionnaire: Introduction date: 2021 words: 1429 flesch: 35 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. keywords: exchange; mobility; movement; questionnaire cache: contemporaneity-316.pdf plain text: contemporaneity-316.txt item: #90 of 130 id: contemporaneity-317 author: Hosseini, Sahar title: Questionnaire: Response date: 2021 words: 1876 flesch: 30 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. keywords: century; culture; isfahan; mobility; new cache: contemporaneity-317.pdf plain text: contemporaneity-317.txt item: #91 of 130 id: contemporaneity-318 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 words: 2020 flesch: 41 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: “Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834” 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 keywords: barretto; calcutta; church; mobility; souza cache: contemporaneity-318.pdf plain text: contemporaneity-318.txt item: #92 of 130 id: contemporaneity-319 author: Veeraraghavan, Lee title: Questionnaire: Response date: 2021 words: 1042 flesch: 38 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. keywords: culture; exchange; mobility cache: contemporaneity-319.pdf plain text: contemporaneity-319.txt item: #93 of 130 id: contemporaneity-32 author: Smith, Terry title: Contemporaneity in the History of Art: A Clark Workshop 2009, Summaries of Papers and Notes on Discussions date: 2011 words: 18424 flesch: 55 summary: In my essay in the Altermodern catalog I speak about an “off-center” 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 — 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 Müller, Harald Szeemann: Exhibition Maker (Ostfildern-Ruit and Maidstone: Hatje Cantz and Amalgamated Book Services, 2006). http://contemporaneity.pitt.edu/� 3 2 C o n t e mp o 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 cache: contemporaneity-32.pdf plain text: contemporaneity-32.txt item: #94 of 130 id: contemporaneity-320 author: french, Lindsey title: Questionnaire: Response date: 2021 words: 1362 flesch: 44 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—of consenting to risk, of resisting a false sense of purity, of inviting knowledge outside of our boundaries—we 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. keywords: response; risk; urushiol; work cache: contemporaneity-320.pdf plain text: contemporaneity-320.txt item: #95 of 130 id: contemporaneity-321 author: Taylor, Alex J. title: The Stones of Ivittuut: Extracting Stories from Rocks date: 2021 words: 3467 flesch: 43 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’s 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’s sole supplier. keywords: aluminum; art; cryolite; history; ivittuut; museum; pittsburgh; presence; university cache: contemporaneity-321.pdf plain text: contemporaneity-321.txt item: #96 of 130 id: contemporaneity-326 author: Tyquiengco, Marina title: The Metabolic Museum: Clémentine Deliss date: 2021 words: 1974 flesch: 40 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—artist residencies, explorative seminars, and unique public programs—to what they mean for an inherently colonial institution. keywords: deliss; ethnographic; ibid; metabolic; museum cache: contemporaneity-326.pdf plain text: contemporaneity-326.txt item: #97 of 130 id: contemporaneity-327 author: Miramontes Olivas, Adriana title: how the light gets in: Herbert F. Johnson Museum of Art, Cornell University date: 2021 words: 4942 flesch: 50 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 – 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’s Reunite challenges what has become a normalized term—citizenship—and 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. keywords: art; citizenship; contemporaneity; culture; herbert; johnson; light; museum; online; presence; university cache: contemporaneity-327.pdf plain text: contemporaneity-327.txt item: #98 of 130 id: contemporaneity-328 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 words: 2280 flesch: 34 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, “Saharan Echoes,” emphasizes the afterlives of Saharan medieval objects and concerns by showcasing their effect on more recent objects. keywords: africa; culture; exhibition; museum; objects; saharan cache: contemporaneity-328.pdf plain text: contemporaneity-328.txt item: #99 of 130 id: contemporaneity-329 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 words: 1973 flesch: 47 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 keywords: aaronel; deroy; exhibition; foundation; gallery; gruber cache: contemporaneity-329.pdf plain text: contemporaneity-329.txt item: #100 of 130 id: contemporaneity-330 author: Nygren, Christopher J. title: Painting as a Modern Art in Early Renaissance Italy: Robert Brennan date: 2021 words: 2606 flesch: 53 summary: Since I began training in the field of Italian Renaissance art history in the mid 2000s, claims to the “modernity” 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’s “non-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. keywords: art; brennan; giotto; modern; modernity; painting; renaissance cache: contemporaneity-330.pdf plain text: contemporaneity-330.txt item: #101 of 130 id: contemporaneity-34 author: Bailey, Robert; Albu, Cristina title: The Temporalities of Soviet and Postcommunist Visual Culture: Boris Groys and Petre Petrov in Conversation date: 2011 words: 14430 flesch: 66 summary: That’s why the experience of Sotheby’s 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. keywords: art; culture; kind; people; present; russia; soviet; t e; time; union; visual cache: contemporaneity-34.pdf plain text: contemporaneity-34.txt item: #102 of 130 id: contemporaneity-343 author: Simmons, Shawn title: On Disciplinary Disrepair: Editor's Introduction date: 2025 words: 994 flesch: 40 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. keywords: art; contemporaneity; history cache: contemporaneity-343.pdf plain text: contemporaneity-343.txt item: #103 of 130 id: contemporaneity-344 author: Guido Ochoa, Amanda title: Occupied Monument: Forte Prenestino and the Creative Rewriting of Ruins date: 2025 words: 7428 flesch: 36 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. keywords: collective; culture; forte; forte prenestino; graffiti; groups; occupation; practices; prenestino; presence; resistance; rome; space cache: contemporaneity-344.pdf plain text: contemporaneity-344.txt item: #104 of 130 id: contemporaneity-345 author: acierto, alejandro title: In averting my eyes, I see what lies ahead date: 2025 words: 1072 flesch: 44 summary: Dean Conant Worcester’s articles for National Geographic between 1898 and 1913 established additional images. By contrast, Wahl-Thompson’s photo series from 1911 illustrates the construction of history through intentional erasures. keywords: images; moros cache: contemporaneity-345.pdf plain text: contemporaneity-345.txt item: #105 of 130 id: contemporaneity-346 author: Liu, Andrea title: Redressing a Lacuna in the Historical Record: Mazepa date: 2025 words: 1609 flesch: 46 summary: | DOI 10.5195/contemp/2025.346 Since Russia’s 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—and 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—a sprawling exhibition of Ukrainian artists at nGbK (neue Gesellschaft für bildende Kunst), Between Bridges, and Prater Galerie. keywords: art; mazepa; rapper; ridnyi; russia; ukrainian cache: contemporaneity-346.pdf plain text: contemporaneity-346.txt item: #106 of 130 id: contemporaneity-347 author: Rizzi, Francesco title: Historical Presence and Immersive Technologies: Between Repair and Rewriting of Visual Memory date: 2025 words: 855 flesch: 24 summary: The notion of historical presence in visual studies has traditionally been constituted through a representational regime based on static media— textual, iconographic, photographic—designed 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. keywords: immersive; memory; presence cache: contemporaneity-347.pdf plain text: contemporaneity-347.txt item: #107 of 130 id: contemporaneity-348 author: Bork, Dustyn title: Reparation and Healing through Materiality in the Work of Aya Haidar date: 2025 words: 1451 flesch: 53 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. “The physical act of mending works towards an emotional repair,” she says. keywords: haidar; work cache: contemporaneity-348.pdf plain text: contemporaneity-348.txt item: #108 of 130 id: contemporaneity-349 author: Copeland, Huey title: Questionnaire: Response date: 2025 words: 1420 flesch: 37 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 Noémie Ndiaye would call reparanoid, which is to say, “grounded 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. keywords: art; culture; online; repair; study cache: contemporaneity-349.pdf plain text: contemporaneity-349.txt item: #109 of 130 id: contemporaneity-35 author: Moxey, Keith title: Review: Anachronic Renaissance by Alexander Nagel and Christopher Wood date: 2011 words: 2804 flesch: 40 summary: /UKR /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 “contemporaneity,” — 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 “substitutional” and “performative,” derived ultimately from Hans Belting’s magisterial book, Likeness and Presence. — they locate themselves in time by eliding the question of their own position within it. keywords: art; nagel; presence; renaissance; substitutional; university; wood cache: contemporaneity-35.pdf plain text: contemporaneity-35.txt item: #110 of 130 id: contemporaneity-350 author: Aguayo, Camila title: Questionnaire: Response date: 2025 words: 869 flesch: 37 summary: When she asked why I was writing about European art when Puerto Rico’s own visual culture remained largely understudied, I had a moment of uncomfortable clarity. To confront Campeche’s racial erasure is to question the legacies of art history that have influenced the methodologies, historiographies, and priorities governing our discipline to this day. keywords: art; campeche; culture cache: contemporaneity-350.pdf plain text: contemporaneity-350.txt item: #111 of 130 id: contemporaneity-351 author: Doyen, Kale title: Questionnaire: Introduction date: 2025 words: 617 flesch: 32 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 “Ruin and Reparation: (Dis)Repair in Art and Architectural History” in Spring 2024. http://contemporaneity.pitt.edu/ Contemporaneity: Historical Presence in Visual Culture http://contemporaneity.pitt.edu keywords: architecture; art; history cache: contemporaneity-351.pdf plain text: contemporaneity-351.txt item: #112 of 130 id: contemporaneity-352 author: Josten, Jennifer title: Questionnaire: Response date: 2025 words: 928 flesch: 18 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. keywords: architecture; art; online; students cache: contemporaneity-352.pdf plain text: contemporaneity-352.txt item: #113 of 130 id: contemporaneity-36 author: Hung, Wu title: From “Modern” to “Contemporary”: A Case in Post-Cultural Revolutionary Art date: 2011 words: 3355 flesch: 45 summary: But if we broaden our view to observe a longer duration of Chinese art history, we find a “pattern of rupture” 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. keywords: art; chinese; contemporaneity; contemporary; history; modern; new; pattern cache: contemporaneity-36.pdf plain text: contemporaneity-36.txt item: #114 of 130 id: contemporaneity-38 author: Donnelly, Jennifer title: Mirror of Time: Temporality and Contemporaneity in the work of Jorge Luis Borges date: 2012 words: 6188 flesch: 45 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: “Is not one single repeated term enough to disrupt and confound the history of the world, to reveal that there is no such history?”10 keywords: borges; contemporaneity; garden; material; new; orbis; paths; refutation; temporalities; temporality; tertius; time; tlön; uqbar cache: contemporaneity-38.pdf plain text: contemporaneity-38.txt item: #115 of 130 id: contemporaneity-43 author: McCloskey, Barbara title: Marking Time: Women and Nazi Propaganda Art during World War II date: 2012 words: 7397 flesch: 54 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. keywords: art; contemp.2012.43; contemporaneity; culture; image; myth; nazi; online; poster; presence; propaganda; reich; time; visual; vol; war; women cache: contemporaneity-43.pdf plain text: contemporaneity-43.txt item: #116 of 130 id: contemporaneity-44 author: Otto, Elizabeth title: Real Men Wear Uniforms: Photomontage, Postcards, and Military Visual Culture in Early Twentieth-Century Germany date: 2012 words: 12280 flesch: 57 summary: Hanne Bergius also cites soldier portraits as key to the rise of Dada in Montage und Metamechanik: Dada Berlin— Artistik von Polaritäten (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. 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 cache: contemporaneity-44.pdf plain text: contemporaneity-44.txt item: #117 of 130 id: contemporaneity-45 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 words: 15106 flesch: 59 summary: These political forwards each mentioned the quality of Heisig’s work and his commitment to society: in Heisig’s work “a passionate knowledge of our socialist 40 Bernhard Heisig, Gemälde, Zeichnungen, Lithographien (Dresden and Leipzig, 1973). [here is] an intact, precisely calculated image… Heisig: a painter who sets the whole of his artistic means [in play]…” In addition to his value for the West, the introduction also emphasized his commitment to society: “for Bernhard Heisig, it is important to have the chance ‘to work on a world view,’ since he is convinced that the best art requires a connection to—and interaction with—society.” 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 cache: contemporaneity-45.pdf plain text: contemporaneity-45.txt item: #118 of 130 id: contemporaneity-46 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 words: 2078 flesch: 36 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 “feminine modernism,” 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. keywords: international; modern; modernity; new; woman cache: contemporaneity-46.pdf plain text: contemporaneity-46.txt item: #119 of 130 id: contemporaneity-47 author: Cohen, Brianne title: An Interview with Lucy Skaer of Henry VIII’s Wives date: 2012 words: 4048 flesch: 73 summary: In several of the group’s 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.… keywords: film; kind; people; work cache: contemporaneity-47.pdf plain text: contemporaneity-47.txt item: #120 of 130 id: contemporaneity-5 author: Sheren, Ila Nicole title: Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted date: 2011 words: 9191 flesch: 44 summary: | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2011.5 discussion of Latin American Mudéjar, the workers’ bodies (this time indigenous) once again define the style. With the addition of Latin America to the story of Mudéjar, new questions arise – how is Latin American Mudéjar related to the original in Spain? keywords: america; architecture; art; cultural; culture; islamic; latin; mudéjar; new; presence; process; spain; spanish; style; transculturation cache: contemporaneity-5.pdf plain text: contemporaneity-5.txt item: #121 of 130 id: contemporaneity-56 author: Greenwold, Diana title: “The Great Palace of American Civilization”: Allen Eaton’s Arts and Crafts of the Homelands, 1919-1932 date: 2014 words: 8785 flesch: 41 summary: The article distinguishes immigrant craft objects from the “self-sufficient” work of European masters. If Eaton’s exhibits elevated the status of immigrant craft, they also disengaged these same communities from full participation in contemporary American life. keywords: american; arts; communities; crafts; culture; displays; e e; eaton; european; exhibition; homelands; immigrant; life; museum; new; objects; r e cache: contemporaneity-56.pdf plain text: contemporaneity-56.txt item: #122 of 130 id: contemporaneity-57 author: Chau, Christina title: Kinetic Systems: Jack Burnham and Hans Haacke date: 2014 words: 8019 flesch: 46 summary: The popularity of systems theory emerged concurrently with a number of complementary emerging theories in art theory and criticism. Burnham’s emphasis on the movement of systems art, rather than the movement of kinesis, is more than a syntactical argument. keywords: art; burnham; esthetics; haacke; hans; kinetic; movement; sculpture; systems; systems art; systems theory; theory; time; visual; works cache: contemporaneity-57.pdf plain text: contemporaneity-57.txt item: #123 of 130 id: contemporaneity-58 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 words: 6833 flesch: 59 summary: Two major groups of art exhibitions emerged during the Revolution—the 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. keywords: art; e n; e t; exhibitions; h e; l t; n t; r e; r t; red; t h cache: contemporaneity-58.pdf plain text: contemporaneity-58.txt item: #124 of 130 id: contemporaneity-73 author: Hönes, Hans Christian title: Enlivening and - Dividing: An Aporia of Illumination date: 2015 words: 7080 flesch: 63 summary: In 1798, Karl August Böttiger paid a nocturnal visit to the Gallery of Antiques in Dresden, illuminating the statues with a torch. For Böttiger’s interest in Knight’s writings, see: Karl August Böttiger, “Ueber Richard Payne Knight,” Amalthea 3 (1825): 408-418. keywords: antique; art; author; böttiger; contemp.2015.73; contemporaneity; culture; der; des; die; dresden; figure; karl; n d; n h; n s; online; presence; statues; torchlight; und; vol cache: contemporaneity-73.pdf plain text: contemporaneity-73.txt item: #125 of 130 id: contemporaneity-77 author: Mamou, Regina title: Mapping Collected Memory: An Exploration of Memory-Based Navigation in Amman, Jordan date: 2014 words: 6826 flesch: 54 summary: Coincidentally or not, citizens of Amman experience an “aversion to using street maps,” 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’s 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. keywords: amman; c o; city; d n; e m; m o; memory; o l; o r; r e cache: contemporaneity-77.pdf plain text: contemporaneity-77.txt item: #126 of 130 id: contemporaneity-80 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 words: 6401 flesch: 46 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’s 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. keywords: art; duration; film; hannah; image; moment; moving; photography; tableaux; vivants; wall cache: contemporaneity-80.pdf plain text: contemporaneity-80.txt item: #127 of 130 id: contemporaneity-81 author: Lysen, Flora title: What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art date: 2014 words: 6315 flesch: 46 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 “one panorama,” 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, “so 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. keywords: american; art; barr; contemporary; distance; erwin; history; new; panofsky; perspective; sweeney; vol; york cache: contemporaneity-81.pdf plain text: contemporaneity-81.txt item: #128 of 130 id: contemporaneity-87 author: Nelson, Roger title: On the Coevalities of the Contemporary in Cambodia: Review: Sampot: The Collection of Small Things by Chan Dany date: 2014 words: 7189 flesch: 51 summary: Chan’s 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 “foreign/Western” (!ំង  barang) or “modern” styles of clothing, except for at special occasions such as weddings. I am grateful to the artists and curators Chan Dany (!ន់  !នី), Khvay Samnang (ៃខ#  សំ#ង), Lim Sokchanlina (លីម  សុខ$ន់លី)), Erin Gleeson and Vuth Lyno (វុធ  លីណ$) for conversations during 2012, 2013 and 2014 that have assisted in the development of many of the ideas I articulate here. keywords: art; artist; cambodia; chan; collection; contemporaneity; contemporary; culture; kbach; khmer; phnom; sampot cache: contemporaneity-87.pdf plain text: contemporaneity-87.txt item: #129 of 130 id: contemporaneity-96 author: Young, India title: Culture v. Capital: The Rebecca Belmore Case date: 2014 words: 9629 flesch: 46 summary: In the statement of claim, Nadimi wrote, “In 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. keywords: art; artist; belmore; canadian; case; culture; gallery; knowledge; legal; nadimi; nations; peoples; performance; system; value; works cache: contemporaneity-96.pdf plain text: contemporaneity-96.txt item: #130 of 130 id: contemporaneity-98 author: McAuliffe, Chris title: Trying to Live Now: Chronotopic Figures in Jenny Watson’s A Painted Page Series date: 2014 words: 8328 flesch: 62 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’s 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. keywords: art; e s; jenny; new; o t; page; painting; r e; taylor; time; twiggy; watson cache: contemporaneity-98.pdf plain text: contemporaneity-98.txt