Understanding the Viennese artist Hans Makart’s studio requires looking beyond style to matters of science and commerce, subjectivity and power.
Since the middle of the nineteenth century, archaeology has been firmly established as a specific way of exploring the past. So where, then, is the dividing line between history and archaeology?
Threats and Promises: The Marketing and Promotion of Electric Lighting to Women in the United States, 1880s-1960s
Margaret Maile Petty
Examining the development of a specific gendered discourse driven by the electrical industry that united key beliefs about feminine beauty, identity, and the domestic interior.
Introduction by Claudia Wedepohl; Translated by Christopher D. Johnson
An unusual firsthand account of the origins of the distinct approach to the history of images developed by Aby Warburg.
Notes from the Field
Found: An Exhibition Curated by Cornelia ParkerIvan Gaskell
William Hogarth was a founding governor of the Foundling Hospital, chartered in 1739, and his example ensured the commitment of leading artists to “Ornamenting this Hospital.” The Hogarth Fellowship commemorates their involvement.
Krieg: eine archäologische SpurensucheIvan Gaskell
A tangle of human skeletons embedded in a soil matrix presented vertically in a gun metal grey case well over twenty feet high dominates the entrance to this exhibition on the archaeology of war. The bones and skulls, many of them open-mouthed as though caught in a last agony, seem about to tumble onto the viewer standing beneath.
Brandbilder: Kunstwerke als Zeugen des Zweiten WeltkriegsIvan Gaskell
When does an artwork become so compromised by damage or deterioration beyond the power of conservators to restore that it loses its artwork character? Can such a damaged thing acquire non-art aesthetic characteristics that compensate, in some sense, for the losses of those aesthetic characteristics it had as an artwork?
After Midnight: Indian Modernism to Contemporary India, 1947/1997Ivan Gaskell
Arshiya Lokhandwala, independent curator and founder of the Lakeeren Gallery in Mumbai, has assembled a fascinating exhibition in two complementary parts that offers visitors to the Queens Museum in Flushing’s Corona Park a selective crash course in Indian art from independence to the present.
Koloman Moser: Designing Modern Vienna 1897–1907Christopher Long
In the spring of 1903, Josef Hoffmann and Koloman Moser founded the Wiener Werkstätte. The company, officially recorded in the commercial court records as the Wiener Werkstätte Productiv-Genossenschaft von Kunsthandwerkern (Productive Cooperative of Artisans), was neither truly a cooperative . . .