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Digital Art History Teaching Resources
Art History Teaching Resources (AHTR) is a web-based platform that connects a diverse field of educators in art history, visual culture, and related fields. Begun in 2013 as a peer-populated resource to improve art historical instruction and raise the profile of teaching in the discipline,  AHTR provides an evolving repository of adaptable lesson plans; a weekly blog of shared assignments, teaching ideas, and reflective essays; and publication of Art History Pedagogy and Practice, the only peer-reviewed journal devoted to scholarship of teaching and learning in art history.
art_history  dh  resource  pedagogy 
january 2019 by asandersgarcia
How a Businesswoman Became a Voice for Art’s Black Models - The New York Times
By Melissa Smith
Dec. 26, 2018

Curator Denise Murrell focused on the works of 19th century [ ] Édouard Manet....
Revealing that maid’s identity became the foundation of Ms. Murrell’s doctoral dissertation, and the driving force behind her exhibition “Posing Modernity: The Black Model From Manet and Matisse to Today,” currently on view at the Miriam and Ira D. Wallach Art Gallery at Columbia University.....“A person of color who is standing right there before you, and being ignored, is something that is part of the condition of being” part of the African diaspora to begin with. Art historians play a significant role in shaping our understanding of the past. It bothered her that their narratives would rewrite, subjugate or exclude the history of black people.......Ms. Murrell went on to reconsider Matisse’s use of black models in light of his trips to New York during the Harlem Renaissance, and circled back to the question that triggered her entanglement with art to begin with: How have contemporary black and nonblack artists reflected on these black figures in their work? “You can’t really understand African-American art and visual culture and artistic production without understanding a lot of what it is reacting to,”......Scholarship around black representation is growing, though gaps remain. And museums are increasingly addressing the full range of their communities, and the needs of a public more attuned to issues of race — approving exhibitions, like Ms. Murrell’s, that probe what blackness really means in the context of art history.....When Ms. Murrell ran into roadblocks, she found funders and strong-armed institutions for loans. Ms. Murrell said that while curators, art historians, gallery owners and others in the art community are sincere when they talk about diversity, they are also reluctant to dismantle established norms, including those that work against people of color. Larger institutions want to play it safe, and often refrain from funding unconventional scholarship. “There’s the concern that if you talk about race or any other kind of marginalized subject, how broad is the interest going to be?” Ms. Murrell said. Leaning on a mentorship model borrowed from her time in the corporate world, Ms. Murrell said she wants to create an incubator for minorities with new ideas.
African-Americans  art  art_history  blackness  curators  exclusion  exhibitions  marginalization  PhDs  artists  playing_it_safe  visual_culture  race  women 
december 2018 by jerryking
France urged to return museum artefacts to Africa
November 23, 2018 | Financial Times David Pilling, Africa Editor.

France should permanently return tens of thousands of cultural artefacts plundered from Africa during colonialism, according to a report commissioned by President Emmanuel Macron that could send tremors around the museums of Europe.

In the report, submitted to the French leader on Friday, the authors accused museums with large African collections — much of which was ransacked or purchased under duress — of being part of “a system of appropriation and alienation” that deprived Africans of the “spiritual nourishment that is the foundation of their humanity”.

....more than 90 per cent of the “material cultural legacy” of sub-Saharan Africa — including palace doors, thrones, carved heads and bronzes — was outside the continent. Europeans, it said, were straining to justify their continued possession of such treasure, while “Africans find themselves struggling to recover the thread of an interrupted memory”.

France alone, the report said, had at least 90,000 African objects, including from modern-day Chad, Cameroon, Madagascar, Mali, Ivory Coast, Benin, Republic of Congo, Senegal and Guinea. French collections also had artefacts from Ethiopia and the former British colonies of Ghana and Nigeria. Many items labelled as “gifts” were the spoils of war, it said.
colonialism  France  restitution  museums  Africa  sub-Saharan_Africa  Emmanuel_Macron  artifacts  repatriation  heritage  antiquities  art  art_history  collectibles  cultural_institutions 
november 2018 by jerryking
Giovanni di Paolo - Wikipedia
Giovanni di Paolo di Grazia (c. 1403–1482) was an Italian painter, working primarily in Siena. He may have apprenticed with Taddeo di Bartolo, becoming a prolific painter and illustrator of manuscripts, including Dante's texts.
italy  art  art_religious  art_history  15th_cent 
november 2018 by benjekman
Buddhist Pilgrim-Monks as Agents of Cultural and Artistic Transmission: The International Buddhist Art Style in East Asia, ca. 645-770, Wong
"In the mid-seventh century, a class of Buddhist pilgrim-monks disseminated an art style in China, Japan, and Korea that was uniform in both iconography and formal properties. Traveling between the courts and religious centers of the region, these pilgrim-monks played a powerful role in this proto-cosmopolitanism, promulgating what came to be known as the International Buddhist Art Style.       
"In Buddhist Pilgrim-Monks as Agents of Cultural and Artistic Transmission, Dorothy C. Wong argues that the visual expression found in this robust new art style  arose alongside the ascendant theory of the Buddhist state, and directly influenced it.  Aided by lavish illustrations, Wong’s book shows that the visual language transmitted and circulated by these pilgrim-monks served as a key agent in shaping the cultural landscape of Northeast Asia. 
"This is the first major study of the vital role played by Buddhist pilgrim-monks in conveying the notions of Buddhist kingship via artistic communication. Wong’s interdisciplinary analysis will attract scholars in Asian art history and religious studies."
to:NB  books:noted  art_history  cultural_exchange  buddhism 
november 2018 by cshalizi
Brigid Brophy reviews ‘The Obstacle Race’ by Germaine Greer · LRB 22 November 1979
Normally a fan of hostile reviews, but something about Brophy's style here grates on me.
lrb_project  brigid_brophy  art_history 
november 2018 by joncgoodwin
Seeing Green: The Use and Abuse of American Environmental Images, Dunaway
"American environmentalism is defined by its icons: the “Crying Indian,” who shed a tear in response to litter and pollution; the cooling towers of Three Mile Island, site of a notorious nuclear accident; the sorrowful spectacle of oil-soaked wildlife following the ExxonValdez spill; and, more recently, Al Gore delivering his global warming slide show in An Inconvenient Truth. These images, and others like them, have helped make environmental consciousness central to American public culture. Yet most historical accounts ignore the crucial role images have played in the making of popular environmentalism, let alone the ways that they have obscured other environmental truths.
"Finis Dunaway closes that gap with Seeing Green. Considering a wide array of images—including pictures in popular magazines, television news, advertisements, cartoons, films, and political posters—he shows how popular environmentalism has been entwined with mass media spectacles of crisis. Beginning with radioactive fallout and pesticides during the 1960s and ending with global warming today, he focuses on key moments in which media images provoked environmental anxiety but also prescribed limited forms of action. Moreover, he shows how the media have blamed individual consumers for environmental degradation and thus deflected attention from corporate and government responsibility. Ultimately, Dunaway argues, iconic images have impeded efforts to realize—or even imagine—sustainable visions of the future."
to:NB  books:noted  american_history  environmentalism  iconology  art_history 
october 2018 by cshalizi
Workshop: Network Analysis + Digital Art History | Getty Advanced Workshop, Pittsburgh
Network Analysis + Digital Art History A Getty Advanced Workshop Call for Participation Workshop Schedule One-week convening, July 29–August 2, 2019 Monthly virtual convenings
dh  data_viz  art  art_history 
october 2018 by asandersgarcia

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