Search

The article focuses on the papers of the 19th-century British art connoisseur and curator George Scharf. The author notes that the papers, which are housed at the National Portrait Gallery in London, England, represent a remarkable repository of unpublished information regarding hundreds of old master paintings. Particular focus is paid to a series of papers relating to the art collections of the industrialist Abraham Darby IV and the art dealer John Watkins Brett. The paintings, which toured the U.S. in the 1830s, are related to early efforts to establish the first American national gallery. In addition, the author comments on the display of the paintings at the "Art Treasures of the United Kingdom" exhibition held in Manchester, England in 1857.

Presents an inventory on three volumes of the archives of Renaissance painter Giorgio Vasari at the Beinecke Rare Book and Manuscript Library at Yale University, New Haven, Connecticut. Highlights of the archives; Document on the work of Vasari on the decoration of the cupola of Florence Cathedral in Italy; Insights on account books in the archives.

The article presents a list of books received by the journal for the month of September 2007, including "Jewish Art in America: An Introduction," by Matthew Baigell, "The Politics of Urban Beauty: New York and Its Art Commission," by Michele H. Bogart, and "The Dinner Party: From Creation to Preservation," by Judy Chicago.

The article discusses the work "Every Building on the Sunset Strip" by artist Ed Ruscha. Topics include the relation of Ruscha's work to Conceptual art and commercial art, the role of Ruscha's work as a form of pasteup layout, the role of Ruscha as a bookmaker and his photography methods. The design of Ruscha's studio is noted.

The article examines artistic resistance, including taking property as well as making alterations to existing artworks, by enslaved African Americans during the Civil War in the Southern United States. Particular focus is given to the symbolism of these iconoclastic acts. Additional topics include the history of the painting "Daniel Ward," by John Wollaston, which was turned into a fireplace screen by an enslaved person and later restored, the objectification of slaves by their owners, and fire and its relationship with African spiritual traditions.

In 1985–86, the Festival of India staged over seventy exhibitions in the United States in forty-two different states, emphasizing India's historical and vernacular traditions. Only three exhibitions presented “contemporary” Indian art, and while the term claimed a contemporaneity with the art of the northern Atlantic, these three shows simultaneously reified a geographic, temporal, and conceptual distance by pursuing a consistently introductory approach and by anchoring the work in the North American imaginary of India. The logic of the distant contemporary operates in the gallery contexts, curatorial choices, catalogs, and erasures of this exhibitionary moment. [ABSTRACT FROM PUBLISHER]

The article discusses the drawing "Trademark Study" by Ed Ruscha, which is a manipulation of the corporate logo of the film corporation Twentieth Century-Fox on hotel stationery. The author discusses the use of words as objects in Ruscha's art, the influence of Abstract Expressionism and Pop art on his artwork, and the size and scale of paintings by Ruscha. The painting "Large Trademark with Eight Spotlights," which is based on "Trademark Study" is examined in light of Ruscha's associations with the city of Los Angeles, California. Other topics include spectatorship of art, Conceptualism, and the urban experience of art and artists.

In this article the author examines an aspect of hip-hop culture, viewing it through the prism of contemporary art history and art criticism. According to the author contemporary manifestations of hip-hop, in music videos, in print or in cover art, generate distinct manifestations in representation and visibility, particularly among black youth. Among other issues, the article examines the hip-hop aspects of contemporary art as represented in the paintings and other artwork of Kehinde Wiley and Luis Gispert.

The article presents information about the radio program titled "Art for Your Sake," which dramatized the lives of famous artists and was produced in part by the National Art Society (NAS) and the National Broadcasting Company Inc. (NBC). The portrayal of the artist Thomas Hart Benton on the show is examined and the Associated American Artists (AAA) is mentioned. Information about Benton's career and work is also included.

A list of U.S. and Canadian dissertations by subject matter is presented. In the category of African Art "In-Visible Colonies: Modern Architecture and Its Representation in Colonial Eritrea, 1890-1941," by Sean Anderson is listed. "Gothic Revival Architecture in Atlantic Canada," by Peter Goffsman is presented under the Architectural History heading. In the Art of the U.S. group is "American Artists' Frames: Paintings, Environments, and Viewers 1869-1920," by Caroline Older.

The article deals with the visuality of urban planning promoted by architect Louis I. Kahn between the 1920s and the 1940s in the U.S. He created a plan during World War II in an attempt to propagandize urban planning to the public. While urban planning had dropped its allegorical pretensions, Kahn moved beyond slum clearance to a wider view of planning. Kahn was searching for a visual language to express planning in a moment of shifting conventions in art, architecture, and planning.

Presents a list of U.S. and Canadian dissertations on the topic of art and architecture, which are in progress in 2004.

Presents a list of U.S. dissertations in 2003. "In-Visible Colonies: Modern Architecture and Its Representation in Colonial Eritrea From 1890 to 1941," by Sean S. Anderson; "Negotiating Masculinity: Male Initiation and Associated Arts of the Makonde Peoples," by Alexander Bortolot; "A Social Architectonics of Science Fiction Film Design," by Marcia Blackburn.

Features Benjamin West, a U.S.-born painter and a committed teacher of U.S. artists. Advantages of West over other artists at the outset of his career in England; Personal background of West; Description of the paintings of West.

Considers the exhibition "The Street" by Claes Oldenburg as a means of thinking about the possibilities for and limitations of New York City, in view of the giant, highly controversial, program of modernist urban renewal then reshaping much of the city. Significance of the book "The Steadyflow Traffic System," by Fritz Marcher to U. S. urban traffic engineering; Description of the show; Information on a symposium attended by Oldenburg.

Traces the scholarship produced in the U.S. that concerns American artistic production and its historical relations to religion from the seventeenth century to the twenty-first century. Discussion on the secularization theory of modernity; Example of the influence on art history of the twentieth-century split between modernism and religion; Factors that influenced the study of religion in the American academy; Characteristics of art history in the 1950s and 1960s; Approaches in the scholarship and criticism of art.

Focuses on the modernization of native art in the United States. Exploration of painter Angel DeCora on the meaning of modernized native art; Art works of the artist used in defining modern art; Essence of transculturation in describing the impact of colonialism on indigenous culture.

Reviews the art exhibit `The Splendor of Eighteenth-Century Rome,' at the Philadelphia Museum of Art through May 28, 2000 and at the Museum of Fine Arts in Houston, Texas through September 17, 2000.

Looks at the reception and presentation of Japanese art in the United States (U.S.) . Collection and exhibition of Japanese arts by art museums in the U.S.; Impact of the exhibition `Japanese Painting and Sculpture' of 1953; How Japan's canon of cultural patrimony came into being.

Discusses the history of American mural paintings and the evolution of its architectural style. Early Romanesque revival and religion in America; Early mural painting in the United States; Architects who adopted mural paintings; Architectural and interior designs of Romanesque churches.

Argues that the American Civil War imagery in trompe l'oeil paintings complemented other memorializing artifacts of the period. Revealing deceptions in artistic renditions; Remembering acts; Formulation of expansive social unity; Samples of Civil War paintings.

Features the paintings of the 1893 World's Columbian Exposition in Chicago, Illinois. Includes Thomas Moran' `Chicago World's Fair'; Daniel Chester French's `Statue of the Republic'; John Henry Twachtman's `Court of Honor, World's Columbian Exposition, Chicago'.

Presents the authors' views and comments on their jobs as former editors of the `Art Bulletin' magazine. Includes Brilliant's reflections on art history and art historians; Garris Brandt's opinion on the appointment of Nancy Troy as editor; Creighton E. Gilbert's dissertations on his work as editor from 1980-1985; Richard E. Spear's job as editor designate over four years.

Discusses the World's Columbian Exposition staged in Chicago, Illinois in 1893. `Certificate of Commission,' produced by the Government Printing Office; Visual presentation of Columbia; Quincentennial anniversary of explorer Christopher Columbus' 1492 voyage; Watershed event for American women; Board of Lady Managers; Displays of women's production; Generic woman as counterpart of Columbus.

Examines the relationship between "Life" magazine and the emerging Abstract Expressionists during the years 1948-1951 and analyzes the various motives behind the long-standing endeavor to mythicize those relations. "Life" magazine's tolerance and support for modern art as seen through its educational articles on the tradition's roots and methods; Why "Life" is frequently cited for its insensitive antagonism to them; 1949 article on Jackson Pollock.

Examines the Unity Temple, long recognized as a major early work of Frank Lloyd Wright, and the idea that it may be understood as the culmination of a series of experiments in a new architecture for liberal religion around Chicago around 1900. Formative influence on Wright's view of religious architecture; Precursors to the temple; Church designs advocated by Wright's uncle Reverend Jenkin Lloyd Jones.

Focuses on the history of art in the U.S. Information on literature that can be read to learn the history of art in the U.S.; Evidences of the status of art in the U.S.; Description of the support system for the U.S. art scholarship in the early 1960.

Offers information on the Pueblo Opera House in Pueblo, Colorado which was designed by Adler & Sullivan company in 1890 and destroyed by fire in 1922. Geographical location of Pueblo; Reasons for the selection of Adler & Sullivan as the designer of the building; Details on the creation of the building.

Presents the drawings of Henry Hobson Richardson for the design of the Trinity Church in Boston, Massachusetts. Evidences of the success of the architecture of Richardson; Features of his plan for the church; Details of the competition for the design of the Trinity Church.

Analyzes the meaning of tree stump, felled tree and woodcutter in 19th century U.S. art. Depiction of trees in art works; Information on paintings that feature tree stump; Symbolic meaning of tree stump.

Provides information on monumental American obelisks. Convertion of the Fort Griswold Monument in Groton, Connecticut into an obelisk in 1881; Commemoration of a soldier-president at the Lincoln Mausoleum at Springfield, Illinois; Characteristics of the Saratoga Battle Monument in Schuylerville, New York by Jared Clark Markham.

The article presents a list of dissertations that were omitted from the June 2007 issue of "The Art Bulletin," including "The Artistic House: Photographing Domestic Space in Late Nineteenth-Century America," by Amanda Glesmann, "Aspects: The Art of Fred Sandback," by Edward Vazquez, and "Not the Romantic West: Site-Specific Art, Globalization, and Contemporary Landscapes," by Karen M. Rapp.