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Full-Text Articles in Other History of Art, Architecture, and Archaeology

An Exhibition Of One’S Own: The Salón Femenino De Bellas Artes (Buenos Aires, 1930s-1940s), Georgina G. Gluzman May 2019

An Exhibition Of One’S Own: The Salón Femenino De Bellas Artes (Buenos Aires, 1930s-1940s), Georgina G. Gluzman

Artl@s Bulletin

From the late 1920s on, Buenos Aires witnessed the emergence of exhibition spaces of a separatist character for women artists. In spite of their importance, these regular shows have not received any attention from art history literature. Their vast development, the extensive coverage by the press, and their links to feminist institutions have gone completely unnoticed. Focusing on the Salón Femenino organized by the Club Argentino de Mujeres, the purpose of this article is to reconstruct the organization of these events, to examine their reception by art critics, and to analyze the careers of some of the participating women artists ...


The Exhibition Of Former Students Of The Elise Von Jung-Stilling Drawing School In Riga In 1904, Baiba Vanaga May 2019

The Exhibition Of Former Students Of The Elise Von Jung-Stilling Drawing School In Riga In 1904, Baiba Vanaga

Artl@s Bulletin

In the 19th century, the art scene in the Baltic provinces and their largest city, Riga, was fairly undeveloped: it was impossible to acquire good arts education, the art market practically did not existed and only a comparatively small number of artists educated outside of the Baltics were working there. The local art scene became significantly more active after 1870, when the Riga Art Society was established. In 1898, Society opened its Art Salon, which held several solo exhibitions of women artists and at least two group shows where all of the participants were women: the exhibition of works by ...


L'Esposizione Internazionale Femminile Di Belle Arti (Torino, 1910-1911; 1913). Note Su Genere, Arte E Professione In Italia All'inizio Del Xx Secolo, Francesca Lombardi May 2019

L'Esposizione Internazionale Femminile Di Belle Arti (Torino, 1910-1911; 1913). Note Su Genere, Arte E Professione In Italia All'inizio Del Xx Secolo, Francesca Lombardi

Artl@s Bulletin

Il contributo intende ricostruire la vicenda delle Esposizioni Internazionali Femminili di Belle Arti (1910-11; 1913), prima manifestazione artistica di taglio internazionale riservata esclusivamente alle donne organizzata in Italia. Promosse a Torino dalla rivista La Donna, le due rassegne si svolsero in un momento storicamente determinante per l'affermazione di un nuovo status delle artiste, contribuendo a dare visibilità e legittimità al fenomeno della produzione artistica femminile. La ricerca ripercorre, sulla scorta soprattutto di documenti d'epoca e fonti d'archivio, la storia e gli esiti di questa innovativa esperienza, evidenziando la complessità delle reti istituzionali, sociali, di patronage e matronage ...


Think Natural ! Une Nécessité Qui Ne Se Cache Plus, Cedrick Nzolo Ngamobu Apr 2018

Think Natural ! Une Nécessité Qui Ne Se Cache Plus, Cedrick Nzolo Ngamobu

Artl@s Bulletin

This contribution raises questions regarding the search for mediation and transition found in pedagogy and the creative process. This can be posed as a response to an affirmation of identity, coupled with a search for philosophical autonomy. The need for mediation or transition is a necessity that we all seek in different ways and according to our respective contexts. In teaching in a school of art or fashion, it is a question with different variables that leaves the field open to all forms of questioning and brings to the fore the confrontation of modes of expression.


Œuvre D’Art Comme Récit Historique (Rapport Des Discussions Du Groupe De Travail), Emi Koide Apr 2018

Œuvre D’Art Comme Récit Historique (Rapport Des Discussions Du Groupe De Travail), Emi Koide

Artl@s Bulletin

This report aims to present central questions raised during two days of group discussion and debate concerning the theme « art work as history ». Several different points of view were presented, in which generational frictions in kinois artistic milieu came to the fore. The main subjects during the discussions were: the challenges involved in writing Art History in the Congo through their own perspectives; the importance on creating archives about Congolese art locally; considering artwork as historical narrative; the importance of the body as a link between object and performance, as well as between material and immaterial dimension.


Au-Delà Des Rivalités Provinciales : Poétiques Visuelles Tropicalistes Et Autres Projets D’Art Étendu Depuis La Perspective Du Nord-Est Brésilien, Ayrson Heráclito Apr 2018

Au-Delà Des Rivalités Provinciales : Poétiques Visuelles Tropicalistes Et Autres Projets D’Art Étendu Depuis La Perspective Du Nord-Est Brésilien, Ayrson Heráclito

Artl@s Bulletin

This text is a compilation of writings published during the course of our research for the 3rd Biennale of Bahia (2014), for which we worked in the curatorial team. These investigations reflect on the genealogy of Northeast Brazil’s contemporary art, seeing this region as unrestricted and non-essentialist. The production of certain artists is considered within an expanded context. To this end, we employed the idea of PEBA (Pernambuco-Bahia), while attempting to come to terms with the possibility of existence of a family, united by the desire for a poetic turn in the tropics.


The Lubumbashi Biennial: Towards New Protagonisms, Daniella Géo Apr 2018

The Lubumbashi Biennial: Towards New Protagonisms, Daniella Géo

Artl@s Bulletin

This article reflects on the role and relevance of the Lubumbashi Biennial (DR Congo), taking into account its specificities, context and modus operandi, as well as making brief parallels with other recurring art events in an attempt to situate the Congolese biennale within the histories of contemporary art biennales. The text provides first-hand commentary on the Lubumbashi Biennial, in particular its fourth edition in which the author formed part of the curatorial team.


Histoire Picturale De Laurent-Désiré Kabila (1997-2001), Donatien Dibwe Dia Mwembu Apr 2018

Histoire Picturale De Laurent-Désiré Kabila (1997-2001), Donatien Dibwe Dia Mwembu

Artl@s Bulletin

This article considers the story of the late Laurent-Désiré Kabila, President of the Democratic Republic of Congo, as told by the popular painters of the city of Lubumbashi. Its shows how popular painting contributes to the knowledge of LD Kabila's reign, by serving as a support for oral history. Indeed, the commentaries of the paintings made by their authors or by critics unveil a chapter of history. Placed next to each other according to their theme and chronological order, popular paintings depict the highlights of the history of a given region in a specific area such as politics, economy ...


Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama Apr 2018

Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama

Artl@s Bulletin

This study relooks at the problematic concept of "African Art". The conceptual evolution of "African Art" coincides with three realities: firstly, that the art discovered in Africa was described as uncivilized; secondly, that this art capitulated with the colonial past of Africa; finally, that this art of an underdeveloped continent. In such a context of emergence, this art has been or is still exploited by ambitious and interested promoters. Hence, there is an imperative need for contemporary artists to overcome all these influences to produce works whose ontological values and universality cannot be challenged.


Les Nouveaux Défis Du Métier D’Artiste En République Démocratique Du Congo, André Yoka Lye Apr 2018

Les Nouveaux Défis Du Métier D’Artiste En République Démocratique Du Congo, André Yoka Lye

Artl@s Bulletin

The history of art institutions in D.R. Congo is relatively old compared to the rest of Africa. This justifies the know-how of Congolese artists since 1930-40’s, even if the general trend was, for a long time, reliant on amateurism and mimetism of European production. With the integration of art institutes into university education level since 1971, the issues and challenges became precise and appeared to be possible to overcome: professionalization, rooted and applied research, community building and international competitiveness, with the urge of solidarity with countries and experiences from the South.


Circulations, Resémantisations. Le Palimpseste Aporétique, Béatrice Joyeux-Prunel Jun 2017

Circulations, Resémantisations. Le Palimpseste Aporétique, Béatrice Joyeux-Prunel

Artl@s Bulletin

Pourquoi trouve-t-on si peu d’études sur les resémantisations à l’œuvre dans les circulations artistiques ? Pourquoi dispose-t-on encore moins de théorie générale pour comprendre ces resémantisations ? Ce papier, s’interrogeant sur les questions que lève une approche circulatoire de l’histoire de l’art, passe en revue les méthodes et les sources qui peuvent contribuer à y répondre. Qu’est-ce qui porte le sens d’une œuvre d’art ? Comment le sens se constitue-t-il et évolue-t-il selon les temps et les lieux ? Quels sont les facteurs qui le font changer ? Quelles sont les conséquences possibles d’une resémantisation artistique ...


The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud Jun 2017

The Reception Of Modern European Art In Calcutta: A Complex Negotiation (1910s-1940s), Julia Madeleine Trouilloud

Artl@s Bulletin

This article analyzes the reception of Modern European Art in Calcutta in the early decades of the twentieth century. In the initial years, the knowledge of the European avant-gardes was limited. It then got rejected as a legitimate source of influence by the Bengal School ideologues close to the nationalist movement. In the early 1930s, the painter Jamini Roy paved the way for a new aesthetics which rejected the Bengal School ideological project and turned to folk arts as models. The style he pioneered naturally appealed to the global modern sensibility. The 1940s are marked by a phase of enthusiasm ...


Art History And The Global Challenge: A Critical Perspective, Paula Barreiro López Jun 2017

Art History And The Global Challenge: A Critical Perspective, Paula Barreiro López

Artl@s Bulletin

The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to ...


L'Histoire De L'Art Au Défi De La Mondialisation: Une Position Critique, Paula Barreiro López Apr 2017

L'Histoire De L'Art Au Défi De La Mondialisation: Une Position Critique, Paula Barreiro López

Artl@s Bulletin

Le défi de la mondialisation et de la “décolonisation” de nos pensées est désormais une préoccupation quotidienne pour la majorité des chercheurs en histoire de l’art. Il est trop tôt pour faire le bilan du fameux « Global turn », tournant d’autant plus timide qu’il se concrétise plus lentement dans les collections publiques et dans l’opinion que dans les livres. Mais nous avons voulu interroger, un peu partout dans le monde, des acteurs à l’écoute des nouvelles pratiques mondiales en histoire de l’art. Issus de milieux culturels et de traditions universitaires variées, de générations diverses, ils ...


Art History And The Global Challenge: A Critical Perspective, Patrick D. Flores Apr 2017

Art History And The Global Challenge: A Critical Perspective, Patrick D. Flores

Artl@s Bulletin

The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to ...


Art History And The Global Challenge: A Critical Perspective, Jonathan Harris Apr 2017

Art History And The Global Challenge: A Critical Perspective, Jonathan Harris

Artl@s Bulletin

The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to ...


Art History And The Global Challenge: A Critical Perspective, Atreyee Gupta Apr 2017

Art History And The Global Challenge: A Critical Perspective, Atreyee Gupta

Artl@s Bulletin

The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to ...


Art History And The Global Challenge: A Critical Perspective, Nuria Rodríguez Ortega Apr 2017

Art History And The Global Challenge: A Critical Perspective, Nuria Rodríguez Ortega

Artl@s Bulletin

The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to ...


Art History And The Global Challenge: A Critical Perspective, Sven Spieker Apr 2017

Art History And The Global Challenge: A Critical Perspective, Sven Spieker

Artl@s Bulletin

The challenge of globalization and the “decolonization” of our way of thinking have become a major concern for most art historians. While it is still too early to assess the impact on the discipline of the “Global turn”—a turn that is all the more timid that it materializes more slowly in public collections and public opinions than in books—we nonetheless wanted to probe scholars who are paying close attention to the new practices in global art history. Coming from different cultural milieus and academic traditions, and belonging to different generations, they agreed to answer our questions, and to ...


L’Histoire Mondiale De L’Art, Au Défi D’Un Grand Récit, Béatrice Joyeux-Prunel Apr 2017

L’Histoire Mondiale De L’Art, Au Défi D’Un Grand Récit, Béatrice Joyeux-Prunel

Artl@s Bulletin

Pour proposer une « histoire mondiale », et pour faire honneur à toutes les productions issues de tous les continents, en particulier ceux qu’on avait méprisés, l’idéal serait d’articuler un récit lui-même mondial. Il nous faut un récit émancipé non seulement des hiérarchies propres au canon (ancien/moderne, beaux-arts/décoration, kitsch / classique), mais aussi un récit qui aille plus loin que la production de hiérarchies dont même le récit postcolonial a du mal à sortir (dominants/dominés). Comment produire un récit qui, en outre, connecte des collections « locales » et des collections « internationales » en gardant du lien entre les deux ?


The Gentleman, The Craftsman And The Activist: Three Figures Of The Sino-Indian Artistic Exchange In Colonial Bengal, Nicolas Nercam Nov 2016

The Gentleman, The Craftsman And The Activist: Three Figures Of The Sino-Indian Artistic Exchange In Colonial Bengal, Nicolas Nercam

Artl@s Bulletin

This article analyses some aspects of the Chinese-Indian exchanges, which took place in the first half of the 20th century, in the artistic circle of Calcutta and Shantiniketan, in Bengal. From the beginning of the last century, the Bengali elite was under the influence of Okakura Kakuzo’s Pan-Asian theories, in its approach to Chinese art. From the 20’s, under the auspices of Rabindranath Tagore the first direct contact between Chinese and Indian artistes took place and lasted until the 40’s. From the 30’s, the Bengali avant-garde, in its search of a new aesthetic in relation ...


Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker Nov 2016

Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker

Artl@s Bulletin

Through the example of Bagyi Aung Soe, Myanmar’s leader of modern art in the twentieth century, this essay examines the potential of Śāntiniketan’s pentatonic pedagogical program embodying Rabindranath Tagore’s universalist and humanist vision of an autonomous modernity in revitalizing the prevailing unilateral and nation-centric narrative of modern Southeast Asian art. It brings into focus the program’s keystones on the modern, art and the artist, which have been pivotal in discoursing on the Burmese alumnus of the ashram-turned-university, and explores how the same might be applicable to fellow artists in Myanmar and the region.


The Transatlantic Triangle Of Artistic Circulation, Béatrice Joyeux-Prunel, Catherine Dossin Sep 2016

The Transatlantic Triangle Of Artistic Circulation, Béatrice Joyeux-Prunel, Catherine Dossin

Artl@s Bulletin

The international circulation of art has today become a rapidly expanding field of study, yet transcontinental circulations have thus far received less attention. In much the same way, a great deal of research has been conducted into bilateral artistic and cultural exchanges, yet scholarship around triangular systems is still somewhat lacking. This latter term refers to instances in which artistic circulation – whether in the form of artworks, artists, aesthetics or styles – involves at least three cultural reference points, and wherein effects of transformation, adaptation and readaptation are all the more complex. Despite the focus on bilateral exchanges, even a relatively ...


Le Triangle Des Circulations Artistiques Transnationales, Béatrice Joyeux-Prunel, Catherine Dossin Jun 2016

Le Triangle Des Circulations Artistiques Transnationales, Béatrice Joyeux-Prunel, Catherine Dossin

Artl@s Bulletin

L'étude des circulations artistiques à l’échelle mondiale est désormais un champ en pleine expansion ; mais celle des circulations transcontinentales reste un domaine plus réduit. De même, alors que les études de transferts artistiques et culturels bilatéraux sont désormais chose courante, il est plus difficile de trouver des études dans lesquelles un système triangulaire est mis en évidence – où la circulation artistique, qu’il s’agisse d’œuvres, d’artistes, d’esthétiques ou de styles, fait intervenir un nombre au moins ternaire de référentiels culturels, et où les effets de transformation, d’adaptation et de réadaptation sont donc particulièrement ...


All Creative Being: Interview With Anna Bella Geiger, Sarah Poppel Feb 2015

All Creative Being: Interview With Anna Bella Geiger, Sarah Poppel

Artl@s Bulletin

In the following interview with Anna Bella Geiger, the Brazilian artist talks about her trajectory and various influences, which have always been deeply marked by the lived situation in Brazil, especially during the dictatorship (1964-1985). Starting with the beginnings of her artistic practice in the early 1950s, she details her affiliation with abstract art, her view of the Brazilian art scene during the 1950s and 1960s and reveals the roots of her topographic works and the importance of her pedagogical experiences.