Fall 2016 (2.2)
In the Round
Claiming the Unknown, the Forgotten, the Fallen, the Lost, and the Dispossessed
There is a lot at stake in asserting the power and meaning of what we are consistently told not to look at. New generations of students need to question the structure that established that there are “major” and “minor” artists, that there are “important” styles, and established (urban) centers of cultural production.
Bully Pulpit
We all have them. File folders with assorted clippings. Post-it notes on the computer screen. Wild ideas scrawled on legal pads after a particularly good lecture. Promises made to confidantes over drinks at the conference hotel bar. These are the beginnings of our dream projects: research ideas that we’d pursue . . . if only.
Responses
Dianne Harris, Professor, Department of History; Dean, College of Humanities; University of Utah
Leo G. Mazow, J. Harwood and Louise B. Cochrane Curator of American Art; Virginia Museum of Fine Arts
Shawn Michelle Smith, Professor, Department of Visual and Critical Studies School of the Art Institute of Chicago
Kenneth Haltman, Professor, School of Visual Arts University of Oklahoma
Research Notes
Art History’s Other Global Moment: Chicago, 1948
This essay focuses attention on the little-known third edition from 1948 of Helen Gardner's art history survey text, Art Through the Ages, in which Gardner (1878–1946), a University of Chicago-trained art historian and professor of art history at the School of the Art Institute of Chicago, mounted what may have been the first attempt to write a rigorously global history
Lifting the Lid on Cigar Boxes at Winterthur
Last spring, I found enlightenment in the Winterthur Library. I was there to look for images of nudes on tobacco advertisements, and I did find some, but also stumbled across some surprising and unexpectedly beautiful chromolithographs that provided an epiphany about the relationship between censorship and culture at the turn of the twentieth century.
