Taylor & Francis期刊
作者:Jeanne Dunning
来源:[J].Art Journal, 2016, Vol.72 (4), pp.5-26Taylor & Francis
摘要:For many of us, the mention of Tom Thumb immediately conjures up the image of the jaunty little boy no bigger than a thumb that we remember from our childhood storybooks. But it is less likely that we recall his story, and, if we do, it is probably a variation based the Brothers ...
作者:Julian Hernandez , Susan Richmond
来源:[J].Art Journal, 2016, Vol.72 (4), pp.27-29Taylor & Francis
摘要:This forum, which originated as a panel at the 2013 Annual Conference of the College Art Association in New York, developed from the following question: how do sculptural practices uphold or, conversely, equivocate the certainties of gendered and sexual embodiment? Having fi...
作者:Tina Rivers
来源:[J].Art Journal, 2016, Vol.72 (4), pp.87-89Taylor & Francis
摘要:When H. H. Arnason published the first edition of his 1968 book The History of Modern Art, it ended with a one-page entry on “Psychedelic Art.” Positioning the inchoate movement as a bridge between the modern and contemporary periods, the entry was a blueprint for a future t...
作者:Rachel Lachowicz
来源:[J].Art Journal, 2016, Vol.72 (4), pp.30-33Taylor & Francis
摘要:My practice has often been understood to act, in part, through its materiality, which I refer to as a translation. In a work like Sarah, which placed four slabs of lipstick in reference to the hard, cold steel of Richard Serra's One Ton Prop (House of Cards), the materials signif...
作者:Rachel Middleman
来源:[J].Art Journal, 2016, Vol.72 (4), pp.34-45Taylor & Francis
摘要:In her article “Vaginal Iconology,” published in New York Magazine in February 1974, the critic Barbara Rose asserted, “Although there are many categories of women's erotic art, the most novel are those that glorify vaginas.” While in this passage Rose referred to ...
作者:Gordon Hall
来源:[J].Art Journal, 2016, Vol.72 (4), pp.46-57Taylor & Francis
摘要:What lessons can we learn from objects? Art objects can tell us many things—about their origins, their intended and received meanings, their makers. But what can objects teach us about how to see? About how to see other objects, or bodies, in realms far removed from the muse...
作者:Jennifer Doyle , David J. Getsy
来源:[J].Art Journal, 2016, Vol.72 (4), pp.58-71Taylor & Francis
摘要:David Getsy: The context of a group of essays on sculpture, sexuality, and abstraction prompts me to start this conversation by talking about how we both write about the valence of sexuality in artworks and performances that would not, at first, seem to encourage it. While we've ...
作者:Lily Cox-Richard
来源:[J].Art Journal, 2016, Vol.72 (4), pp.72-77Taylor & Francis
作者:Nicholas Hartigan , Joan Kee
来源:[J].Art Journal, 2016, Vol.72 (4), pp.78-83Taylor & Francis
摘要:What does it mean to take a stand for sculpture now? Such is the question Lily Cox-Richard asks in the appropriately titled series The Stand (Possessing Powers). Here she selects, edits, and then re-creates elements of the works of Hiram Powers (1805–1873), the presumptive “...
作者:Joanne Heath
来源:[J].Art Journal, 2016, Vol.72 (4), pp.84-86Taylor & Francis
摘要:Over the course of the past twenty years, the representation and theorization of the maternal has emerged as a particularly rich area of interdisciplinary feminist inquiry. Two recent books—The M Word: Real Mothers in Contemporary Art, edited by Myrel Chernick and Jennie Kle...


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