CAS: History of Art & Architecture Scholarly Works
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Item Labour in a single shot: critical perspectives on Antje Ehmann and Harun Farocki's global video project(Amsterdam University Press, 2021-12-04) Williams, Gregory H.; Grundmann, Roy; Schwartz, Peter J.; Gericke, Detlef; Ehmann, Antje; Elsaesser, Thomas; Hudson, Dale; Zimmermann, Patricia R.; Gatti, José; Barker, David; Simms, Jeannie; Stubblefield, Thomas; Sutton, Gloria; Navarro, Vinicius; Williams, Gregory H.; Grundmann, Roy; Schwartz, Peter J.This collection of essays offers a critical assessment of Labour in a Single Shot, a groundbreaking documentary video workshop. From 2011 to 2014, curator Antje Ehmann and film- and videomaker Harun Farocki produced an art project of truly global proportions. They travelled to fifteen cities around the world to conduct workshops inspired by cinema history’s first film, Workers Leaving the Lumière Factory, shot in 1895 by the Lumière brothers in France. While the workshop videos are in colour and the camera was not required to remain static, Ehmann and Farocki’s students were tasked with honouring the original Lumière film’s basic parameters of theme and style. The fascinating result is a collection of more than 550 short videos that have appeared in international exhibitions and on an open-access website, offering the widest possible audience the opportunity to ponder contemporary labour in multiple contexts around the world.Item Enhancing the presence and visibility of landscapes in Docomomo(Lisboa: Docomomo International; Tokyo: Docomomo Japan, 2021-08-29) Haenraets, Jan; Saniga, Andrew; Cengiz, GulnurLandscape themed initiatives, presentations and publications have become regular occurrences in Docomomo International and its chapters. A general impression remains that Docomomo predominately focusses on architecture, and that there is work to be done to elevate the importance of ‘landscape’, a significant task being to define and clarify the breadth of sites that are characteristic of the modern landscape in a range of contexts, geographically and typologically. While its activities remain modest, the Specialist Committee on Urbanism and Landscape (ISC/U+L) has taken up the role as a point of contact for landscape advice to chapters along with organising themed events. In 2018 the ISC/U+L proceeded to develop a thematic book on designed landscapes of the Modern Movement based on submissions from Docomomo chapters. The initiative had several objectives based upon broadening knowledge and appreciation of salient issues to do with modern landscapes world-wide. With the book, Docomomo and the ISC/U+L could potentially enhance the presence and visibility of landscapes in the broader field of mid-Twentieth century historical and theoretical research and beyond to heritage and conservation more generally. This paper clarifies — within the context of the evolution of the conservation of landscapes of the Modern Movement and the status of landscape activities in Docomomo — the method and process followed to gather the submissions from the chapters. Key findings from an analysis of the process to engage the chapters and the submitted sites lead to thoughts on potential future actions.Item Mapping paintings, or how to breathe life into provenance(Routledge, 2020-05-05) Cranston, Jodi; Brown, KathrynThe Isabella Stewart Gardner Museum in Boston houses the extraordinary collection of Mrs. Gardner in a purpose-built Venetian-style palace. Observing the artworks in exactly the same arrangement as Mrs. Gardner experienced them allows visitors to situate themselves physically in the early twentieth century and to imagine a kind of kinship with the world of Fenway Court, as Mrs. Gardner referred to her house. This type of house museum arguably nudges us into the edges of history a bit more easily and effectively than the galleries of a traditional purpose-built museum: the wallpaper, the furnishings, the absence of wall labels. But how much of the lives of these artworks still remains lost to us as we stand before them? How much of the life of any artwork remains lost to us when we look at it in a museum?Item Review of "Leisure and Luxury in the Age of Nero: The Villas of Oplontis Near Pompeii" by John R. Clarke and Elaine K. Gazda.(College Art Association, 2017-12-21) Kleiner, FredItem The monument to the children of Villatina: commemorating innocent child victims in the context of lethally stigmatized youth in Colombia(SAGE Publications) Reyes, Ana MariaThis article examines the monument for the children of Villatina (2004, Medellín, Colombia) that resulted from the Masacre Villatina v. Colombia Friendly Agreement put forward by the Grupo Interdisciplinario de Derechos Humanos (GIDH) to the Inter-American Commission on Human Rights (IACHR). In 1992, the Colombian police murdered eight youths ranging in age from 8 to 22 years in the Villatina neighborhood of Medellín. After long and difficult negotiations, the GIDH and IACHR brokered a Friendly Agreement (2002) between the victims’ families and the government of Colombia. As a part of the reparations program, the Colombian State committed to install- ing a commemorative monument in a public park in downtown Medellín. While the monument was designed to recognize the dignity and honor of the youthful victims, the author argues that its emphasis on innocence tacitly endorsed the extermination of non-innocent children and young men caught in the vortex of war. Following Judith Butler’s arguments regarding ‘griev- able’ lives in Frames of War: When Is Life Grievable? (2004) and the condi- tion of the human, the author contends that both the process of the Friendly Agreement negotiations and the resulting monument rehearse a hierarchy of humanity that casts some lives, but not all, as grievable.Item Conservation's curatorial conundrum(University of Pennsylvania Press, 2018-10-11) Bluestone, D.Preservation's tangible qualities are the source of its greatest strength and responsibility. At the same time, the essential materialism of preserved places has led preservationists to steward these objects of preservation desire as if they are ends in themselves, often sapping preservation's vitality, relevance, and civic promise. Preservationists believe in the power of buildings and yet they regulate these very buildings in ways that short circuit the essential links between historic places, heritage, politics, and the future. This essay explores the curatorial conundrum through a series of case studies and proposes an alternative approach to Design + Heritage.Item Evidence and Narrative(University of California Press, 2017-12) Abramson, Daniel M.; Osman, MichaelItem L'Année terrible Viewed by John Tenniel(Association of Historians of Nineteenth-Century Art, 2016) Ribner, JonathanItem POV: The controversy over Confederate Civil War monuments(2017-09-25) Bluestone, DanielItem Framing landscape while building density: Chicago Courtyard Apartments, 1891-1929(University of California Press, 2017-12-01) Bluestone, DanielItem Resistance and persistence: on the fortunes and reciprocal international influences of French romanticism(Graduate School Boston University, 2018) Ribner, JonathanResistance and Persistence: On the Fortunes and Reciprocal International Influences of French Romanticism Abstract This article addresses ambivalence toward Romanticism on the part of Romantic artists and writers active in France - a group that includes Heinrich Heine, Eugène Delacroix, Alfred de Musset and Théophile Gautier. In counterpoint, the argument sets forth the persistence of the Romantic legacy in the work of the ostensibly anti-Romantic Gustave Courbet. I contend that the unease of Romantics vis-à-vis Romanticism is inseparable from their quixotic quest to transgress convention; that, in the face of negation and ridicule, signal characteristics of the movement endured, affecting the outlook of even its most bitter enemies (e.g., the Catholic royalist writers associated with the paper L'Action française and their admirer, the London art critic and philosopher T.E. Hulme); that, in the art of Van Gogh and Rodin, new life was breathed into Romanticism through contact with its ostensible opposite, Realism; and that Romanticism continued to speak to the concerns of artists active long after the mid-nineteenth century. I conclude with a consideration of how the negative view of Romantic pathos fostered by twentieth-century Formalism has been challenged, since the 1950s, by revisionist art historians.Item John Ruskin, Philip Henry Gosse, William Dyce, and the contemplation of time at midcentury(The British Art Journal in association with the Berger Collection Educational Trust, 2018) Ribner, Jonathan