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Copyright of Latin American & Latinx Visual Culture is the property of University of California Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores how the visual culture of Eastern Europe has been studied and often excluded from the grander narratives of art history and more specialized conversations due to political and cultural limitations, as well as bias in the field. The history and visual culture of Eastern Europe have been shaped by contacts with Byzantium, transforming, in local contexts, aspects of the rich legacy of the empire before and after the fall of Constantinople in 1453. This study expands and theorizes the eclectic visual cultures of Eastern Europe during the late medieval period by focusing on two ecclesiastical buildings of the 14th century built under princely and noble patronage in regions of North Macedonia and Wallachia, respectively: the Church of St George at Staro Nagoričane, near Skopje, modern-day North Macedonia (1315–17) and Cozia Monastery in Călimănești, Wallachia, modern-day Romania (founded 1388). The 14th century was a transformative period for the regions to the north and south of the Danube River, establishing the contacts that were to develop further during the 15th century and especially after 1453. [ABSTRACT FROM AUTHOR]

The article explores the evolution of global pop art and its intersection with Cuban sociopolitical conditions in the 1960s, delving into the contextualization and artistic expressions of pop art outside the typical Western, consumerist paradigm. Topics include the expansion of the pop art canon beyond its Western origins through exhibitions like International Pop and The World Goes Pop, examining how Cuba's post-revolutionary state facilitated the adaptation of pop art.

"Victorian Science and Imagery: Representation and Knowledge in Nineteenth-Century Visual Culture" is an edited volume by Nancy Rose Marshall that explores the intersections between Victorian art and science. The book argues that the arts and sciences were not separate spheres in Victorian culture, but rather intertwined. Marshall emphasizes the importance of art history methods in studying these interactions and challenges the demand for proof of influence. The book also examines the shared interest in vision and anxieties about perception in Victorian art and science. Overall, "Victorian Science and Imagery" offers fresh perspectives on the connections between the sciences and the visual arts in Victorian culture. [Extracted from the article]

Eppihimer nods to such readers with some remarks on Anatolia at the end of the book (pp. 200-202), but does not elaborate on her views on the diasporas of Akkadian garment hems or I la mu i figures. As Eppihimer clarifies, in order to establish visual allusions to the Akkadians, "an ancient Mesopotamian artist or patron ... had to associate some aspect of an image with the Akkadians. Eppihimer points out the many opportunities for Akkadian art to persevere, remaining visible for generations to come; but also that it may not have been as impactful as the stories told about those very same Akkadian kings. [Extracted from the article]

In the Illustrations in Roll and Codex (1947), Kurt Weitzmann developed a methodological apparatus for studying Byzantine and medieval narrative book illumination. His approach had two important features: an evolutionary narrative typology that paid attention to the narrative strategies the painter chose for presenting a story and a comparative narrative analysis that observed stories in illustrations in relation to their textual source. The focus of this paper is the personal and institutional background of this method, its context, dissemination, and legacy. Weitzmann advanced the study of pictorial storytelling through his pedagogical work and introduced it into the academic curriculum. Alongside stylistic analysis and iconography, it soon became an essential methodological tool in art history that constituted a link between the art of the Byzantine East and the Latin West. This approach also had a key influence on the style of his autobiographical writings. Weitzmann propagated the study of visual narratives through his extremely productive oeuvre and effective personal influence. In the dissemination of Weitzmann's ideas, three institutions played a key role: Princeton University, Dumbarton Oaks, and the University of Chicago. Weitzmann's circle made Byzantine studies the leading field for research into visual narratives over the period from around 1940 to 1980. [ABSTRACT FROM AUTHOR]

Copyright of Ileti-s-im is the property of Universite Galatasaray, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Of the major modernist movements in the 20th century, Abstract Expressionism long retained its canonical status as a radical avant-garde detached from a broader mass culture. However, some of the sensationalized marketing of the movement, especially publicity on Pollock, served to undermine a serious public understanding of vanguard art, allowing Abstract Expressionism and other modernist styles to be more easily coopted for expanded forms of consumer spectacle in the 1950s. Abstract Expressionism and the Mass Visual Culture of World War II One of the most important topics regarding the alignment of Abstract Expressionism with mass visual culture is the dominance of World War II within all forms of media during the early years of the movement. Leja's book I Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s i (1993) analyzes the relationship between Abstract Expressionism, film noir and the mainstream trend of popular psychology in the 1940s ([20]). [Extracted from the article]

"Victorian Science and Imagery: Representation and Knowledge in Nineteenth-Century Visual Culture" is a book that explores the interconnectedness of science and art during the Victorian era. The essays in the book, written by trained art historians, analyze various visual objects such as illustrations, paintings, and photographs, and discuss their relation to wider Victorian culture and science. The authors employ methods from art history to provide rich descriptions of the images and offer interpretations and analysis. However, the book's print quality of the images is poor, which hinders the reader's ability to fully examine and appreciate them. [Extracted from the article]

Weisenfeld pointedly highlights that "[g]as masks also revealed how the toxic transformations inherent in the militarization of the home front were enmeshed in modernity's own perceived toxicity. Focusing on the fascinating cultural effects and (by)products of civil air defense in interwar and wartime Japan, art historian Gennifer S. Weisenfeld's superb study I Gas Mask Nation: Visualizing Civil Air Defense in Wartime Japan i investigates the unintended, and sometimes, surprising aspects of a culture of air defense that soon developed its own unique esthetics by the mid-1930s. [Extracted from the article]

In this richly multi-sensory setting, women's musical identities were shaped and encountered in ways that do not obey modern disciplinary boundaries, as people and their possessions collaborated to claim and contest spaces of musical agency amid conflicting views on music's probity. As Page's analysis clearly demonstrates, in Fanti's I Triompho i the musical images are entirely embedded in an elaborate game, forming a part of its meaning-making apparatus, harnessing the encounter with the musical image to a systematic process that is at the same time purposeful and playful, reflective and performative. In 16th-century Italy, music occupied an ambivalent position in relation to ideals of feminine conduct. [Extracted from the article]

Copyright of Tropelias is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuestiones de Filosofia is the property of Universidad Pedagogica y Tecnologica de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the refined silk used to make japonse rokken to the coarse cotton laborers' shirts, textiles have long been critical indicators of rank and status in the visual culture of the early modern Dutch Republic and its global networks. And yet, due to the complexity of trade, the ways in which these textiles generated meanings is not easy to discern. With these concerns in mind, this essay debuts the preliminary findings of the Dutch Textile Trade Project (dutchtextiletrade.org), an ongoing, collaborative digital art history project that brings together four types of data (textual, material, visual, and quantitative) in an effort to advance the study of historical trade textiles and their social meanings. [ABSTRACT FROM AUTHOR]

Review of Susan B. Barnes. Visual Spirituality. Art, Mediums, and Cognitive Dissociation, New York, Bern, Berlin, Bruxelles, Oxford, Wien: Peter Lang, XVI, 2022 (216p). [ABSTRACT FROM AUTHOR]

The encounter between the Meiji and Western countries posed a challenge of assimilation and integration of thoughts and practices into Japan, at the same time brought Japan into the global sphere. Instead, Meiji thought conciliated the two by creating a new form of hybrid between the spirituality and technology of Japan and the West. [Extracted from the article]

This article from Early Modern Women: An Interdisciplinary Journal explores various aspects of early modern women's experiences and contributions. The first section discusses the representation of women in visual culture, literature, and history during the sixteenth to eighteenth centuries. It includes an analysis of carved wedding chests depicting the myth of Niobe and a study of Madame de Maintenon's pedagogical dramas. The second section focuses on the intersection of gender and race in colonial Latin American art and the representation of aging women of color in early modern China. The article also includes book reviews and highlights ongoing interest in early modern women in public forums. [Extracted from the article]

"Patchwork: Essays & Interviews on Caribbean Visual Culture" by Jacqueline Bishop is a collection of 30 essays and interviews that explore Caribbean visual culture. The book focuses on the diverse influences of ethnic, national, racial, and sexual identity, as well as family heritage and formal art training. It showcases the creative translations of Caribbean experiences into various mediums, including needlework, painting, sculpture, photography, and performance art. The book also addresses a wide range of concerns, such as colonialism, postcolonialism, environmental issues, spirituality, AIDS, globalization, gender, and sexuality. The featured artists and contributors reflect the diversity of Caribbean identity and experience. [Extracted from the article]

Copyright of Avant is the property of Centre for Philosophical Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay asks how colonial visual imagery might be interrogated alongside material culture in order to recover some knowledge of the quotidian lives of the enslaved. It encourages viewing that focuses on the material traces hitherto neglected by scholars: vessels for carrying fresh water. If archaeologists have focused on the tangible remains of pots, we suggest ways in which artistic representation might also offer insights into everyday living. Detail has become a recurrent theme in Art History precisely because it offers a methodology which allows the humble things of the everyday to become the focus of attention. Here we explore attention to detail as a way of thinking anew about colonial visual culture, focussing on the work of professional artist Agostino Brunias, a long-term resident of Dominica. [ABSTRACT FROM AUTHOR]

Walking as a methodological approach has developed within anthropological, literary, sociological, and ethnographic research, and more recently in ethno-biographic studies, but has not greatly crossed into history or art history. In this article, using the metaphor of the "constellation," we offer a transdisciplinary methodology to complicate Euro-western renaissance humanism, in our exploration of the gendered, temporal, spatial, and cultural aspects of renaissance Florence, through a walk in the "Boboli gardens" in the footsteps of Poliphilo. Walking helps us to form a sense of our past, present, and future, and in walking, we gain ground in the "art of paying attention" (Ingold). In our walk, key emerging themes are the gardens as a metaphor for visual culture; the phenomenological, temporal, and spatial transgression of gender norms and their demarcated thresholds; gardens as stimulating cognition and the sensorial; and the developing art of garden aesthetics and the architectonic. [ABSTRACT FROM AUTHOR]

The birth of the nautical chart in the late medieval period is seen as a watershed moment in the history of cartography. So far, however, the artisanal practices that permitted the proliferation of sea charts have remained poorly understood and little evidence has been recovered from extant charts on which to base the production history of the surviving charts. This article describes a systematic exploration of the techniques employed in the copying of coastlines on manuscript charts between the fourteenth and early seventeenth centuries. Attention is drawn to the ways different processes shaped contemporary late-medieval and early-modern understanding of the Mediterranean and what the techniques may reveal of that thinking. By reframing the charts in terms of their characteristics as drawings and placing map making in the broader context of two-dimensional graphic art, and by making use of the ever-growing corpus of high-resolution digital reproductions, we gain new insights into the chartmakers' changing approaches to the transmission of geographical information. At the same time, a number of directions for further research are opened up. [ABSTRACT FROM AUTHOR]

The history of art, more accurately described as the history of western art, has been premised on a history of cultural imperialism that privileges certain traditions and ideologies over others. The decline of the discipline within the academy in recent decades and replacement in many cases with the more critically evaluative and broader area of critical and contextual studies (CCS) has filled a function in art and design education but needs to be critically interrogated for its relevance and its pedagogical usefulness in thinking about the politicized discourse of art. Attempts have been made within the academy to decolonize the curriculum. Within the context of CCS this entails ensuring standardizing the approach to the subject but not the content, which would be neither desirable nor possible given the decentralized way in which CCS is staffed. A standardization of approach means the inculcation of critical reflexivity when considering structures of knowledge, which helps identify gaps in the curricula and ways of addressing these. Decolonizing is a process that needs to be continuous and reflexive in order to embed significant change. [ABSTRACT FROM AUTHOR]

The article discusses the key text of Mieczysław Porębski (1921-2012), an outstanding Polish art historian and art critic, which is vital for understanding his proposed idea of creating a metacritical language that would allow description of the contemporary art world - Introduction to Metacriticism (first edition around 1966, second - 1983). All Porębski's publications on this subject are mentioned in the article to obtain a full picture of this concept in the researcher's writings. The importance of creating it for critical-artistic methods is emphasized. The sources of inspiration for the idea of metacriticism (including bibliographic ones) and the implementation of its assumptions in the text itself are shown, taking into account the approximate mid-twentieth century historical context of methodologies developed on the basis of structuralist reflection, especially the influence of information theory and game theory. The ways in which Porębski came to formulate the assumptions of metacriticism are presented, also through analysis of the language itself. The idea of metacriticism is placed in the wider context of the researcher's scientific work too, linking it with his proposal to divide the history of art criticism into the so-called criticism of poets and criticism of experts, as well as the idea of the iconosphere postulated by him, which proves to be a pioneering one for contemporary research on visual culture. Finally, the paper suggests that the idea of metacriticism can be the beginning of the present-day style of writing about art. [ABSTRACT FROM AUTHOR]

The article seeks to map the word–image relationship. Mitchell defines the difference between word and image by pointing to various possible criteria of its determination. He indicates the difficulty of unambiguously distinguishing these concepts and highlights their interdependence. Moreover, Mitchell points to the conceptualization of “word and image” in the field of art history and linguistics, citing such examples as the duck-rabbit or de Saussure’s diagram that depicts the structure of a linguistic sign. Finally, Mitchell shows the deeply political entanglement of the “word–image” relationship and its links to the determination of racial, class, and gender differences. [ABSTRACT FROM AUTHOR]

Copyright of Plurentes is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studies on Art & Architecture / Kunstiteaduslikke Uurimusi is the property of Estonian Society of Art Historians and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the possible contribution of trans studies to a global contemporary art history and visual culture. Topics discussed include how trans studies can provide a framework for approaching gender diversity in global representations of the body as well as for other embodied imposed categories of identification, and possibilities of productive interactive engagement between trans studies and art history outside of trans artists or representations of trans bodies.

This article examines three cases of mid‐20th‐century oil media—oil‐related imagery, iconographies, and media—in visual culture: a series of popular science books entitled The Story of Oil published in the US, an oil‐themed set of Kuwaiti postage stamps (1959), and an art exhibition in Zurich (1956) titled Welt des Erdöls: Junge Maler sehen eine Industrie (World of Petroleum: Young Artists See an Industry). While depicting crude oil in its natural habitat was a common photographic theme in the early 20th‐century United States, the material discussed shows that, by the mid‐20th century, crude oil no longer had the same visual presence. The iconography of oil in the three case studies came to rely increasingly on images of oil infrastructure and on context‐specific depictions of living within petro‐modernity or petro‐culture, meaning lifestyles fueled by cheap fossil energy. However, it is not just the changes in visual representations of petroleum that matter; any debate about the visibility and invisibility of petroleum has to take into account the very media through which petroleum has become visually communicated—that is, the precise forms of oil's mediatization. The aesthetic negotiation of petroleum through media‐based visual representations has been crucial for the dematerialization of fossil matter in its conversion to fossil energy, as well as the decoupling of sites of extraction from sites of production and consumption in the public imagination. As petro‐culture has morphed into national or even global culture (rather than representing just one possible energy source among many), oil media has paved the way for our intimate relationship with fossil energy‐dependent lifestyles, which is one of the biggest drivers of climate change. [ABSTRACT FROM AUTHOR]

For your purposes as an art educator, how do you define 'art' and 'artist'? Some critics argue that, in today's art world, the 'institutional' definition of art reigns. What other definitions of art seem credible and useful to you as an art educator? [ABSTRACT FROM AUTHOR]

The article reports that experience of visuality and socially engaged practice. Topics include production and consumption of artefacts, and the critical interpretation of their aesthetic and material qualities; and interdisciplinary coalition of academic disciplines and discourses assembled in visual studies including art history, anthropology, ethnography, film and media studies, literature, psychology, and sociology.

An interview with Amelia Jones is Grierson Chair in Visual Culture in the Department of Art History and Communication Studies at McGill University, is presented. Topics include Visual sociology deviates from the arts and humanities in its specific approach to visual information; and semiotic engagement with the sensuousness of the art object, and the humanities often utilizes cultural theory for visual studies research.