This is to move beyond simply writing a more inclusive history of art to understanding African Americans as active participants in the history of modernism.
Category: In the Round
Tags: 4.1, African American art, critical theory, Henry Ossawa Tanner, John P. Bowles, modernism
Chip Colwell
Chicago: University of Chicago Press, 2017; 336 pp.; 10 b/w illus.; ISBN 978-0226298993; Hardcover: $30.00
Reviewed by: Emily Moore, Assistant Professor of Art History, Colorado State University
Category: Book Reviews
Tags: 4.1, Chip Colwell, critical theory, Emily Moore, Maria Pearson, Native American art, Suzan Shown Harjo
Adair Rounthwaite
Minneapolis: University of Minnesota, 2017; 280 pages; 57 b/w photos; 12 color illus.; Paperback: $27.00; Cloth: $108.00
Reviewed by: Johanna Gosse, Visiting Assistant Professor and Scholar-in-Residence, Department of Art and Art History, University of Colorado, Boulder
Category: Book Reviews
Tags: 4.1, Adair Rounthwaite, contemporary art, critical theory, Dia, Group Material, Johanna Gosse, Martha Rosler
I could begin by asking, does patriotism have a place in the study of American art? However, I prefer an even broader question: can ideology—and patriotism is nothing if not an ideological phenomenon—furnish a basis for scholarship?
Category: Bully Pulpit
Tags: 3.2, Alan Wallach, critical theory, luminism, Manifest Destiny, patriotism
Category: In the Round
Tags: 3.1, critical theory, Elise Madeleine Ciregna, funerary art, material culture, pedagogy, sculpture
Long before I met an art historian and long before I trained to become one, I knew that museums were sources and resources and that they were sites of social and cultural capital. I also did not expect museums to connect with me, and I did not care much if they did.
The front of the building that houses El Museo del Barrio features an artwork by the conceptual artist Luis Camnitzer that simply states: “A museum is a school: the artist learns to communicate, the public learns to make connections.”
Category: Bully Pulpit
Tags: 3.1, critical theory, Latin American/Caribbean art, Luis Camnitzer, Rocío Aranda-Alvarado
Benjamin Ives Gilman invented the skiascope to ensure that museum visitors saw art as he thought best—without distraction. Unfortunately, as far as I was able to determine, no skiascope survives. And so I built one.
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