In recent decades, there has been a sustained questioning of conventional art-historical
Surrealism & War, the major exhibition this past summer and fall at the National Veterans Art Museum in Chicago, presented visual art by nine veterans of America's most recent wars, asking viewers to interpret images produced out of personal trauma on the basis of an art-historical
rubric that fore grounded Surrealism's celebration of liberatory potential in unconscious expression.
This elemental employment of shape, line and color recalls Art-Historical
movements of the 1960s such as Op-art and Minimalism.
While the cannons are fakes, this one was real, a readymade--and a winking quotation of various art-historical
moments, from Duchamp to Jeff Koons.
Led by John Hale and Geoffrey Parker, historians have been teaching art historians how to see war for a couple of decades, though most art-historical
studies have tended to focus more on earlier German or Italian imagery.
is a tool which primarily aims to advance modern architectural historiography, freeing it from worn-out art-historical
itineraries and creating a methodology of knowledge and procedures for working on the modern heritage'.
Empowered with big ideas and inquiry skills, the art-historical
understanding of our students need not be limited to our curricular choices.
Previous Gelitin projects have played fast and loose with a range of art-historical
precedents: Their giant pink Rabbit, 2005, for instance, pokes fun at the seriousness and machismo of Land art.
Moxey offers a cogent analysis of the logical paradoxes pervading these foundational texts, inviting us to consider how Panofsky folds theory and method into truth claims based on empirical study in the physical sciences, but also on the Hegelian tradition deeply embedded in German art-historical
The remainder of the show indicated an important shift in the conceptualization of Lachowicz's work: She is still using cosmetics, but the newer works appear to address something beyond art-historical
commentary or post-feminist theory.
An example of these attributes is the chapter in which Cunnally departs from his cultural analysis to deal with the technical question of the identity of the engraver of the woodcuts in the Illustrium imagines and concludes a rather tenuous series of identifications and parallels with the observation (83-85), "Palumba, however, has a peculiar way of terminating the free-falling curls in a springy S-shaped fillip that can be considered a Morellian trait of his, if such a concept is still permissible in art-historical
writing." A useful alphabetical survey of Renaissance numismatic authors and their books is confusing in its layout and hi dden between the notes to the text and a bibliography that lists only works cited in the appendix.
With "Summer of Love: Art of the Psychedelic Era," curator Christoph Grunenberg (director of Tate Liverpool, which organized this show) sets out to rescue '60s psychedelic art from art-historical