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
Béla Tarr—Till the End of the WorldIvan Gaskell
Is it possible to make a satisfactory museum exhibition comprised of not much more than film clips? This is what curator Jaap Guldemond has done in collaboration with the renowned Hungarian filmmaker Béla Tarr.
Beyond Words: Illuminated Manuscripts in Boston CollectionsJane Whitehead
While hunting for rare volumes on vacation in Venice in 1890, the art collector Isabella Stewart Gardner (1840–1924) discovered a French sixteenth-century manuscript book of hours illuminated with exquisite miniature paintings. The artist was unknown at the time, but Mrs. Gardner knew quality when she saw it.
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?