All posts tagged: art history

Framing the Audience: Art and the Politics of Culture in the United States, 1929-1945

Published by IVC Author

Reviewed by Elizabeth Eikmann, Saint Louis University Isadora Helfgott. Framing the Audience: Art and the Politics of Culture in the United States, 1929-1945. Philadelphia: Temple University Press, 2015. 326 pages. 21 color plates. The culture wars of the years surrounding the 1930s are known for the many and well-fought domestic battles over high art, popular culture, and consumerism. During this era, the barriers between high and popular art upheld by centuries of tradition came crumbling down as leftist American artists worked to redefine the relationship between art and the greater society. Mass circulation of visual media gave 1930s Americans unprecedented access to art and, as scholars such as Michael Denning have argued, it would be during this decade that art gained a new power to create, challenge, and reinforce ideas about national politics, economy, and identity. While numerous scholars have focused their work on the art produced during this time, Isadora Helfgott’s Framing the Audience: Art and the Politics of Culture in the United States, 1929-1945 flips the focus onto the figures behind and beyond the …

Teaching Tradition: A Sampler from the Scoula d’Industrie Italiane, 1905-1927

Published by IVC Author

Sampler, Scoula d’Industrie Italiane, ca. 1915, embroidered linen, Cooper-Hewitt National Design Museum. Larger version of the image is available here. A young Italian female immigrant in the Greenwich Village in the early twentieth century had few options if she wanted to earn a living outside the small tenement apartment she likely shared with her family. If she found work, it was almost certainly unskilled factory labor in unhealthy working conditions for little pay. In 1905, progressive upper class New Yorkers Florence Colgate Speranza and her husband Gino Speranza imagined an alternative: a clean, light-filled workshop where women might learn a skilled trade and earn decent wages. While on vacation in Italy, the Speranzas had observed small-scale revival textile industries cropping up in Italian cities and towns such as the Aemelia Ars in Bologna and the Scoula di Sorbello in Pischiello. The Speranzas set out to establish a similar studio in the all-Italian neighborhood of Greenwich Village. The Scuola d’Industrie Italiane operated until 1927 producing “embroideries copied from ancient designs and adapted to modern uses.”1 This …

Rochester and Native Art in the 1930s

Published by Alexander Brier Marr

  When a young, pregnant woman fell through a hole near the uprooted Celestial Tree above the dome of the sky, no one knew where she would go. The world below was inhospitable to her, covered in water. As Sky Woman fell, duck-creatures carried her on their wings to rest on the back of a great turtle. A muskrat then emerged from the water carrying a bit of soil from the sea floor. Smearing it on the back of the turtle, the earth grew wider. Sky Woman walked across the expanding ground, beginning Seneca inhabitance of the earth.1 In 1936 when Ernest Smith completed his painting of the Sky Woman diving into a dark and watery world, many people believed Seneca culture continued a long fall. Centuries of encounter deeply affected pre-contact Seneca culture. The dispersal of land holdings, introduction of Christianity and flooding of Seneca world with new goods all impacted the character of daily life. Finding deep fault with the effects of settler society on the Seneca world, Director of the Rochester Museum …

Interview with Ivan Gaskell

Published by Eitan Freedenberg

On April 5, 2013, Ivan Gaskell delivered the keynote address of the University of Rochester’s ninth Visual and Cultural Studies conference: “A Matter of Time: Temporalities of Material Culture.” In his whimsically titled speech,”Buds, Bugs, and Bird Skulls: Do Such Things Perdure?”, Gaskell offered a poignant reflection on the various mechanisms immanent to the museum, bringing attention to a number of objects, beautiful and initially mystifying, that challenged the entrenched conventions of curation. We at InVisible Culture had the immense fortune to sit down with Ivan during the conference weekend for a more intimate look into his thinking, and to conduct the interview you see here.Over the coming year, we plan on releasing a number of additional interviews, each featuring an exciting thinker who participates in a discourse different than that of the scholar before it. Special thanks are due to Ivan Gaskell for granting this interview, and our parent institution, the University of Rochester, for its continual support over the years. – Video produced by Paul Thomas Rubery Interviewer: Eitan Freedenberg Shot and Edited …