Art-historical Context Research Articles

공공미술로서의 ‘소녀상’과 재현의 정치학

The artwork entitled "Statue of a Girl of Peace," which first appeared in 2011, is basically a sculpture using a realistic representative method, but it also encompasses the context of a modern public art movement that gains meaning when placed in a particular place: the scene, a subject of much discussion and developing into a unique "cultural phenomenon." This paper attempts to examine the historical meaning and limitations of this work and its historicity by simultaneously arguing for the discourse topography of representative politics along with the art historical contexts implied by the work.

An agential-narrative approach on art semiosis

Abstract In this article, a semiotic approach is proposed to explain how human agents use and give meaning to art in complex contexts. Inspired by the psycho-historical approach on art appreciation, which attempts to embrace psychological and cognitive aspects of art sense-making, as well as the art-historical context dependence of artworks, an extended theory is suggested: an agent's art use and interpretation can be described using three general categories of meaning grounding: phylogenetic recurrence, ontogenetic recurrence and collective recurrence. These categories explain how a certain meaning of a sign is possible and justifiable, supported by human agents' capabilities and purposes. This article also proposes that it is possible to narrate, using such categories of meaning grounding, how different agents enact art, that is, give meaning and act upon art in different circumstances. Finally, I offer some examples about how the model can be used in real art contexts. The objective of this narrative-enactive approach, even though it offers a limited and edited focus, is to offer an orderly and comprehensible method to explain the dynamic nature of art meaning and how biologic, individual and collective grounding and purposes intertwine.

Australian Rock Art in the Expanded Field: History, Meaning, and Contemporary Context

Compared with the prehistoric parietal art of Europe, Australian Aboriginal rock art is little known in art historical contexts, despite that fact that many of these works are older, more dynamic, and more sophisticated. More than the laneways of inner-city streets, much of the Australian landscape is literally layered with art. There are thousands of rock art sites recorded in Australia and perhaps an equal number that have been forgotten or destroyed. New galleries and cathedrals of colour are regularly reported in the popular press. Yet the status of rock art in Australian art history, like much of the rest of Indigenous art production, is under-researched and poorly conceptualised within the discipline. To address this, we devised a panel session for the Art Association of Australia and New Zealand’s 2017 annual conference, at the University of Western Australia, upon which this special issue is based. The responses we received were curated into two parallel interdisciplinary sessions, each of which had an artist, an art historian and an archaeologist.

‘The Revival of the Medal’

Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.

Nataraja Informed through Text and Technique

The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time flesh out what is known about the fabrication and provenance of the Nataraja in the Rijksmuseum. The Nataraja was cast by the lost-wax method; x-ray images confirm that the Shiva is solid-cast together with the halo. X-ray fluorescence reveals an alloy consistent with other Chola-period bronzes but not necessarily a pañcaloha alloy (five metals), which seems to be a modern tradition; the front hands were apparently cast on separately as a repair, probably during casting or not long after. Further evidence gathered from the sculpture and its soil encrustations (ICP-MS lead and neodymium isotope ratios, SEM-EDX and XRD) is briefly presented, and supports earlier assumptions about the Nataraja. It appears to date from the twelfth century and was under worship for a relatively short time before it was buried at an unknown location in India. The presence of Indian earth and corrosion products typical of burial imply that it did not re-enter a temple context for worship and was not subject to major restoration before entering the art market in the early twentieth century.

Editor’s Note

Previous articleNext article FreeEditor’s NotePDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreThis issue opens with an essay on the aesthetic and political potential of the modern scrapbook. Makeda Best’s argument focuses on a unique object at the Archives of American Art, one that artist William H. Johnson created through careful selection, transformation, and recombination. I must admit feeling kinship with the scrapbooker when I collect and assemble the content for each issue of the journal. Diverse research materials intersect on our pages, bringing together multiple art-historical contexts, artistic media, and interpretive methods. At its best, the resulting arrangement—in this case, a sequence of articles concerning African American modernist painting and politics, the social practice of gift-giving in the art world of the 1960s, and the economics of nineteenth-century art—exceeds the sum of its parts. Taken together, this research by Best, David McCarthy, and Diana Seave Greenwald presents new ways of reading artworks and primary sources in the field of American art history.In “Archive Matters,” two essays apply inventive methodological questions to American aestheticism, focusing on personal papers at the Archives. Elizabeth Lee revisits her research on Abbott Handerson Thayer by considering what the diary of the artist’s physician-father and period letters might say (or not say) about medical themes in Thayer’s paintings. While archives can appear to their modern users as incoherent or incomplete, Lee advocates for subjecting them to a critical, indeed clinical, gaze that reanimates their contents and thereby an artist’s oeuvre. Erica E. Hirshler brings Thayer into her own reflection on archival absences by looking to the letters he exchanged with fellow painter John Singer Sargent. Hirshler is interested in the gaps in this, like most, archived letters. How do we creatively approach these gaps, Hirshler asks, while remaining critical of the interventions into the historical record that doing so necessitates?With this issue, the journal welcomes curator of African American manuscripts Erin Jenoa Gilbert. This new position is part of the Archives’ African American Collecting Initiative (2018–21), supported by the Henry Luce Foundation. We look forward to Gilbert’s expansion of the collections by and about African American artists, and to the exciting research opportunities her work will surely provide our authors and readers. Previous articleNext article DetailsFiguresReferencesCited by Archives of American Art Journal Volume 58, Number 1Spring 2019 Sponsored by the Archives of American Art, Smithsonian Institution Article DOIhttps://doi.org/10.1086/703658 © 2019 by The Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

A igreja Matriz de Santa Luzia e seus retábulos

RESUMO A igreja Matriz de Santa Luzia, localizada na cidade mineira homônima, abriga em seu interior conjunto de retábulos que ainda não foram devidamente analisados pela historiografia da arte, apesar de se tratar de peças de significativa importância para o contexto da talha setecentista luso-brasileira. Diante das sombras que repousam sobre o tema, este artigo tem como orientação elementar o estudo de três retábulos do referido templo, em prol de conhecer os aspectos históricos e estilísticos que nortearam sua produção, bem como suas prováveis relações com outros exemplares congêneres encontrados em Minas Gerais.

Dictionary learning-based classification of ink strokes in Vincent van Gogh's drawings

Discriminative dictionary learning techniques are applied in an art historical context with the goal of automatic classification of an ink drawing based on the type of stroke. Two kinds of K-SVD-based multi-class classification are tested on van Gogh's drawings. First is a classical dictionary method where atoms are learned from pixels directly. A second feature-based dictionary method is introduced where atoms are learned based on features characterising collections of individual strokes. Results indicate that feature-based method provides better classification while incurring significantly less computational expense than the classical method. A multi-level feature-based method extends K-SVD for larger images. Such an automated classification would provide a new resource for scholars of van Gogh and students learning the art of drawing, be useful in automated photograph to computer drawing translation and point towards the more difficult problem of identifying painted brush strokes. Algorithms and data are provided to encourage modifications and extensions.

Dictionary learning-based classification of ink strokes in Vincent van Gogh's drawings

Discriminative dictionary learning techniques are applied in an art historical context with the goal of automatic classification of an ink drawing based on the type of stroke. Two kinds of K-SVD-based multi-class classification are tested on van Gogh's drawings. First is a classical dictionary method where atoms are learned from pixels directly. A second feature-based dictionary method is introduced where atoms are learned based on features characterising collections of individual strokes. Results indicate that feature-based method provides better classification while incurring significantly less computational expense than the classical method. A multi-level feature-based method extends K-SVD for larger images. Such an automated classification would provide a new resource for scholars of van Gogh and students learning the art of drawing, be useful in automated photograph to computer drawing translation and point towards the more difficult problem of identifying painted brush strokes. Algorithms and data are provided to encourage modifications and extensions.

Corpus of Anglo-Saxon Stone Sculpture. XII: Nottinghamshire, by Paul Everson and David Stocker

This recent addition to the impressive Corpus of Anglo-Saxon Stone Sculpture focuses on the relatively tight geographic region of the historic county of Nottinghamshire. The structure reflects the CASSS standard of introductory chapters covering earlier research; geology; historical background; a discussion of key styles and motifs of ornament; general overviews of monument types and groupings; and a discussion bringing various strands together, before the presentation of the detailed catalogue and photographic illustrations. Catalogue entries follow the standard CASSS format, including detailed monument descriptions and specific discussion on art historical context. Paul Everson and David Stocker’s Nottinghamshire volume includes detailed catalogue entries for thirty-two monuments from twenty-two sites (with a further sixty-seven more briefly listed in an appendix, as they post-date the Anglo-Saxon period). When first opening the volume, it is perhaps advisable for those not already well versed in the sculpture of Nottinghamshire to begin ‘at the back’ and peruse through the catalogue entries and photographs first. This would help reinforce the range and challenging conditions of the monuments discussed before the detail of the authors’ text is attempted. The volume includes high-profile monuments such as Stapleford no. 1, a tall heavily carved round-shaft type, for which the authors develop new and important strands of argument on its date (early? ninth century) and iconographic content with a consideration of its materiality (a hard to carve gritstone), monumentality (pp. 189–95) and landscape situation near a ford in the river (p. 76). The volume also champions the smaller, less well-studied and new fragments from South Leverton, including a cross-shaft fragment and fragment of stone rood (pp. 74–5; 170–8), which help to flesh out the Anglo-Saxon ecclesiastical and lordly landscape.

Adel T. Adamova, Manijeh Bayani. Persian Painting. The Arts of the Book and Portraiture. The al-Sabah Collection

This publication is a new volume in a series, presenting the famous al-Sabah Collection in Kuwait. The authors wrote thorough entries on 41 exquisite examples of Persian book art and painting, which they situate in their art-historical context. The publication is written for both the general audience and specialists, a difficult task in which the authors have been very successful. Each chapter starts with a short and easy reading historical and art-historical introduction, so that the non-spe...

Beckett's Thing: Painting and Theatre by David Lloyd

Reviewed by: Beckett's Thing: Painting and Theatre by David Lloyd Derval Tubridy Lloyd, David. 2016. Beckett's Thing: Painting and Theatre. Edinburgh: Edinburgh University Press. £75.00 hc. £24.99 sc. xiii + 253 pp. David Lloyd's erudite and incisive study, Beckett's Thing: Painting and Theatre, articulates the importance of Samuel Beckett's close attention to painting as material culture and social signifier, identifying the ways in which his engagement with three key painters—Jack B. Yeats, Bram van Velde, and Avigdor Arikha—influenced the development of his theater. Beckett's Thing forms part of a growing body of scholarship on Beckett and the visual arts that both identifies the paintings and art-historical contexts that influenced the Irishman's writing (Gordon Armstrong, James Knowlson, Mark Nixon, Fionnuala Croke, Conor Carville), and traces his influence on Modern and contemporary art (Lois Oppenheim, Mary Bryden, Daniel Albright, Derval Tubridy, Catherine Laws, Christa-Marie Lerm Hayes, Carla Taban, Katherine Weiss, Robert Reginio, David Houston Jones). Yet, while he draws on the significant developments of each of these strands of research, Lloyd provides a distinctive perspective, focusing on Beckett's deep interest in specific paintings by Yeats, van Velde, and Arika, and asking, "How far can we find in his appreciation of actual paintings clues not to any specific image that Beckett may have adopted, but to the visual principles that underlie and evolve through his work as a whole?" (7). His critical perspective framed by ethics and aesthetics, Lloyd positions Beckett's engagement with painting as a way of thinking, [End Page 880] an extension of the writer's exploration of the impossibilities of language, representation, and expression. Drawing on his earlier readings of Beckett in terms of the decolonial subject, Lloyd develops the implications of representation as a form of politics to argue that Beckett's "thoroughgoing dismantling of the regime of representation { … } fractures not only the aesthetic but with it the political and ethical dimensions through which the modern subject is articulated" (233). Painting certainly was Beckett's thing. His early years were spent immersed in the Dutch and Renaissance paintings hanging in the National Gallery of Ireland. Beckett wrote to his good friend, Irish poet Thomas MacGreevy, on 13 September 1932: "I seem to spend a lot of time at the National Gallery, looking at the Poussin Entombment and coming stealthily down the stairs into the charming toy brightness of the German room to the Breughels." In the summer of 1927 he travelled to Florence and to Venice, where he saw Giorgione's The Tempest at the Accademia, to which he would allude in his 1931 essay on Proust. While working as a lecteur at the Ecole Normale Superièure in Paris, he frequented the Louvre in the company of MacGreevy (who was working there as a guide), later referring to paintings by Franciabigio and Pisanello in his early stories. In 1933–34 Beckett immersed himself in art history, transcribing passages from R. H. Wilenski's An Introduction to Dutch Art (1929). A sojourn in London while writing Murphy in the 1930s facilitated trips to galleries and museums there (he even applied for a curatorial post at the National Gallery), and his subsequent trip through pre-war Germany, detailed in six diaries now called the "German Diaries," exposed the young writer not only to the avant-garde of European painting, but to the political nexus within which expression and representation are embedded. Beckett's notes on his visit to the studio of Karl Ballmer in November 1936 give a glimpse of the aesthetic concerns that would animate his critical writing at that time. Viewing Ballmer's Kopf in Rot (1930–31), Beckett was alert to the tension between abstraction and representation, noting that the object of Ballmer's work is "not exploited to illustrate an idea," and that communication itself is "exhausted by the optical experience that is {both} its motive & content" (German Diaries, November 26, 1936). Informed by the publication of Beckett's letters, and further scholarship on his notes and diaries pertaining to the writer's early appreciation of European art, Lloyd asks three vital questions: What did Beckett "learn from painters that eventually informed...

A Digital Humanities Approach to Film Colors

A Digital Humanities Approach to Film Colors Barbara Flueckiger (bio) And much of the data mining that leads to visualization … is based on a flawed method that conflates literal discourse and symbolic/interpreted reference. In an art-historical context, this would be the equivalent of counting instances of the color red across a collection of images without discriminating between symbolic and representational functions. The reds are not the same, and cannot be counted the same way, put into the same category, or re-represented as data for visualization in a graph or chart, without monstrous distortion. JOANNA DRUCKER, "GRAPHICAL APPROACHES TO THE DIGITAL HUMANITIES," A NEW COMPANION TO DIGITAL HUMANITIES [End Page 71] There are strong and justifiable objections to the measurement or, more broadly, the computer-assisted analysis of aesthetic phenomena—as Johanna Drucker makes clear.1 One pitfall of quantitative analysis is its potential to disregard the meaningful context of data occurrences across the body of works studied. In fact, any quantitative approach to aesthetics that aims to reduce the inherently ambiguous quality of works of art into measurable units runs the risk of engaging in positivist reductionism and of fundamentally ignoring philosophical aesthetics and its analytical tradition. Given these reservations, it may seem extremely bold to investigate one of the most intangible aspects of film aesthetics, namely, film colors, by computer-assisted tools in the emerging field of digital humanities. Colors are elusive. Our perception of them is deeply influenced by the context of their appearance, their material presentation, the given cultural framework, and each individual spectator's subjective response. However, it was precisely this challenge that led to the development of the projects elaborated and reflected in the digital humanities platform Timeline of Historical Film Colors and, most importantly, the research project FilmColors, which was funded by an Advanced Grant from the European Research Council (ERC). By their very definition, ERC Advanced Grants are meant to be "high risk, high gain" projects that "are designed to allow outstanding research leaders of any nationality and any age to pursue ground-breaking, high-risk projects in Europe."2 This article offers insight into the current state of research in computer-assisted film color analysis and applications that are either available or in development. FilmColors is closely linked to the interactive Timeline of Historical Film Colors, which started in 2012. The platform consists of a comprehensive web resource and online database for all topics related to film colors, with a special focus on their technology, aesthetics, analysis, and restoration. Thus the Timeline is a collection, an archive, a documentation process, and, increasingly, an annotated system for the investigation of the topic, which offers access to a curated body of information to researchers, archivists, film historians, and a broader audience of users from different backgrounds. Four different interdisciplinary approaches investigate the relationship between aesthetics and technical innovation as applied to film colors. First, the database-driven analysis of film color aesthetics, their affective qualities, and their narrative functions aim to identify diachronic aesthetic patterns. Based on this offline database, the research team is developing a computer-assisted tool with a web interface that will allow the crowdsourcing of film color analyses applying recent advancements in digital humanities and custom-made visualizations. Then these aesthetic analyses are connected to the study of film color technology in combination [End Page 72] with chemicophysical analyses of historical color films to understand the influence of film stocks and color processes on films' aesthetic appearance. Third, the team will apply insights gained during the digitization and restoration of historical films by taking into account the requirements of restoration ethics while improving workflows. Finally, three PhD theses in progress will provide case studies from three periods: the emergence of film colors from early applied colors to so-called natural colors (1896–1930), the development of standards in film color technology and aesthetics (1930–55), and the dominance of chromogenic processes (1955–95). The project features a truly interdisciplinary approach to consider and connect all the relevant factors—from technology to perception and aesthetics—because they are closely intertwined. The focus remains firmly rooted in the humanities. METHODOLOGY: STYLISTIC ANALYSIS AND DIGITAL HUMANITIES The planned computer-assisted...

Reproducing the indigenous: John Møller’s studio portraits of Greenlanders in context

ABSTRACTBetween 1889 and 1922, John Møller (1867–1935), the first professional Greenlandic photographer, produced more than 3000 glass plate negatives documenting life in Western Greenland around the turn of the twentieth century. Rooted in an internal understanding of self, Møller’s photographs played an important part in the formation of a contemporary image of Greenlandic indigenous identity. At the same time, Møller’s photographic practice was arguably entangled in and delimited by a historical reality that was structured by colonial relations of power. This paper examines the social and art-historical contexts of Møller’s work, focusing in particular on a selection of his formal studio portraits. My reading of these portraits suggests a case in which conflicting impulses coincide. On the one hand, Møller produced images that played out the “ethnographic convention”, a European form of representation dating back to the sixteenth century used for the documentation of non-Western indigenous peoples as specimens. However, in acting out that convention, Møller’s photographs hint at a subtle, progressive building-up of identity that reclaimed images of Greenlanders for themselves, and turned an originally negative, external image of indigeneity into a positive sense of self.

визуальная культура в контексте истории искусств

визуальная культура в контексте истории искусств

Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930–1990 by Sonal Khullar, and: Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria by Chika Okeke-Agulu

Sonal Khullar, Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990 Berkeley: University of California Press, 2015, 368 pp. Chika Okeke-Agulu, Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria Durham: Duke University Press, 2015, 376 pp. I. In this essay, I explore state of study of visual modernism in geographical areas outside of its ordained point of origin in Europe, using as a point of entry two volumes published in 2015, Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria and Sonal Khullar's Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990. Okeke-Agulu and Khullar both contribute to a growing body of local and national histories that recast modern art's relationship to nation and nationalist discourse as a productive site of meaning-making in colonial and postcolonial contexts. Nonetheless, because of intimate relationship between modernism and narratives that define it on one hand, and colonialism on other, a number of assumptions continue to plague perception of non-Western modernism, all of which are connected to its relationship with [...] Western art traditions, its apparent inauthenticity and derivativeness, its supposed lack of comparative sophistication, [and] its troubling intimacy with cultural (Okeke-Agulu 6). In pages that follow, I explore how Okeke-Agulu and Khullar deal with these assumptions, situating their accounts of Nigerian and Indian modernism within context of art history's global turn. I argue that these authors offer avenues for expansion of art history's geographical reach without reducing disparate practices and discourses that define them to a single modernist temporality. Two common threads run through their books: on one hand, both authors emphasize local and national discursive parameters of contexts under investigation as constitutive of modern art; on other hand, both establish continuity between modern and contemporary, in Nigeria and India respectively, against a prevalent narrative of colonial rupture. In Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria, Okeke-Agulu focuses on Nigerian art in decade of political independence, between 1957 and 1967, and in decades leading up to it. In particular, author pays close attention to terms in which visual modernism was imagined by artists themselves, and by contemporary Nigerian critics and writers, and uses these as a framework for understanding their practice. Against commonly held assumptions of abject dependency on nationalist ideology or on European models, author reframes relationship between art and nationalist ideology as discursively productive. Cultural nationalism was indeed central to ways in which artists conceived of their work, and the conjunction of art and nationalist ideology is an important characteristic of postcolonial modernism as an international mid-twentieth-century phenomenon (2). Furthermore, Okeke-Agulu reframes relationship of Nigerian modernism to European art in terms of idea of natural synthesis, deployed in Nigeria at time, which he defines as the selective use of artistic resources and forms from Nigerian/African and European traditions (1). In Worldly Affiliations, Khullar adopts a comparable approach, attending to terms of debates that surrounded art in India between 1930 and 1990. She takes binary between and West to be a central fact of Indian modernism, and argues that in India, as in Europe, this binary must be taken seriously, as East and West were marshaled as formal and social attributes in art history's most crucial debates on naturalism and abstraction, line and color, art and crafts, masculinity and femininity, nature and culture (12). …

Srebrni zidni svijećnjaci cara Leopolda I. u franjevačkom samostanu na Trsatu

The aim of this paper is to publish and place in an art-historical context two silver wall candelabra with busts of classical antique figures surrounded by intertwined stylized acanthus leaves. The candelabra are kept in the Franciscan convent of Trsat. They were last documented in a photo-documentary campaign by Artur Schneider during the 1930s, and in 1974 they were added to the culturalheritage list as part of the convent's inventory. It is a very valuable set of silver wall candelabra, donated to the Franciscan convent of Trsat in 1693 by the Holy Roman Emperor Leopold I Habsburg (1658-1705). The author refers to the written sources confirming the commission of the candelabra and analyses the evolution of their peculiar typology. In their design and iconographic programme, judging by the various analogies and graphic models, they corresponded to the production of Augsburg goldsmiths. This hypothesis is supported by the hallmark of the city of Augsburg and another one indicating goldsmith Antoni Grill I, documented in that art centre in the period from 1668-1700.

Thin and Tantalizing: The Armory Show at 100

In this article I argue that the 2013 Armory show retrospective hosted by the New York Historical Society missed an opportunity to put the original 1913 show in an adequate historical context. The show did not as fully integrate its rich historical material as it might have, and thus failed to give today’s visitors a fuller sense of the kind of environment artists and writers, such as William Carlos Williams, were then working in. It also did not allow contemporary spectators to uncover surprising connections between the great variety of artists who exhibited in 1913 but who were not referenced in the retrospective. Had the original contents been more comprehensively featured it would have provided an opportunity to offer a sense of the art historical context in which these works would have made sense—or would have entirely baffled their early twentieth-century American audience. In this way the show might also have been a boon to scholars of modernism of all stripes, enabling them to rejuvenate older critical conversations with fresh eyes. I argue that the real gem of the show was not in the show at all. Instead, it was the expansive, richly illustrated, and knowledgably written book collection, Armory Show at 100: Modernism and Revolution , edited by Marilyn Satin Kushner and Kimberly Orcutt and released along with the show, which presents an in-depth reexamination of the 1913 event, including an account of its key players.

Pictish symbol stones and early cross-slabs from Orkney

Orkney shared in the flowering of interest in stone carving that took place throughout Scotland from the 7th century ad onwards. The corpus illustrated here includes seven accomplished Pictish symbol-bearing stones, four small stones incised with rough versions of symbols, at least one relief-ornamented Pictish cross-slab, thirteen cross-slabs (including recumbent slabs), two portable cross-slabs and two pieces of church furniture in the form of an altar frontal and a portable altar slab. The art-historical context for this stone carving shows close links both with Shetland to the north and Caithness to the south, as well as more distant links with Iona and with the Pictish mainland south of the Moray Firth. The context and function of the stones are discussed and a case is made for the existence of an early monastery on the island of Flotta.

Introduction to Akasegawa Genpei's “The Objet after Stalin”

Abstract This introduction situates Akasegawa Genpei's text “The Objet after Stalin” and the events surrounding his reproduction of the 1,000-yen note in the art-historical and political context of Japan's postwar avant-gardes. It explores Akasegawa's conception of the objet both in terms of its lineage within the history of Surrealism and its reception in Japan and of Akasegawa's original theoretical claims concerning the political potential of artistic practice.