This essay suggests that the interactions that took shape within the physical boundaries of [Stieglitz’s gallery] open insights into the broader dynamics of cultural discrimination and privilege.
Tag: photography
This process of what I term a “re-membering” of history through Weems’s body and gaze indicts the landscape and the buildings that populate as key players in multiple histories.
Colleen Skidmore
Edmonton: University of Alberta Press, 2017; 376 pp.; 60 color illus.; 4 maps; ISBN: 9781772122985; Paperback: $34.95
Reviewed by: Katherine Mintie, Postdoctoral Scholar, DePauw University
Darcy Grimaldo Grigsby
Chicago: University of Chicago Press, 2015; 224 pp.; 131 color illus.; 27 b/w illus.; ISBN 9780226192130; Cloth: $45.00
Reviewed by: Rachel Stephens, Assistant Professor of American Art, Department of Art and Art History, The University of Alabama
Sarah Kate Gillespie
Cambridge, Mass.: The MIT Press, 2016; 232 pp.; 69 b/w illus.; ISBN 9780262334082; Hardcover: $31.95
Reviewed by: Ellen Handy, Art Department, The City College of Art, New York
Margaretta M. Lovell, Jay D. McEvoy, Jr., Professor of American Art, Art History Department, University of California, Berkeley
The visual rhetorics incorporated into these images trigger (in different ways) both physical appetite and social appetite, and their mechanisms for doing so appear to have remained constant in recent decades despite new competition from expansive digital venues. They incorporate power relations, aesthetic pleasure, and voyeurism. But food aesthetics are neither universal nor isolated; they echo (and feed) the cultural and political contexts in which they circulate so we can see change over time within underlying sameness.
University of Minnesota Press
By Jason Weems
Reviewed by Andrea M. Truitt
UC-Berkeley Art Museum and Pacific Film Archive.
Curated by Darcy Grimaldo Grigsby, Stephanie Cannizzo, and Ryan Serpa.
Reviewed by Jackie Clay.
In the wake of Ellsworth Kelly’s death at the age of ninety-two, and with major reappraisals of his work no doubt on the horizon, what, we might ask, is the American master’s legacy in our global age?
Recent American art publications and exhibitions increasingly have engaged multimedia projects that dissolve many previous constraints on mingling painting and sculpture with popular art and visual culture. Coney Island, New York City’s “playground of the people,” serves as the perfect subject for such a study.