Contemporaneity: Historical Presence in Visual Culture https://contemporaneity.pitt.edu/ojs/contemporaneity <p dir="ltr"><em>Contemporaneity</em> is an open access and peer-reviewed journal that publishes scholarly and artistic explorations of the diverse ways in which the complexities of being in time are expressed. <span style="color: black;">It is based</span> in the department of the History of Art &amp; Architecture at the University of Pittsburgh, and emerges from its innovative <a href="http://constellations.pitt.edu/" target="_blank" rel="noopener">constellations program</a>. We publish question-driven research that resonates across disciplines, interrogating diverse visual material from across time using multiple methods. Our editorial board seeks to:</p> <ul> <li class="show" dir="ltr"> <p dir="ltr">Adhere to high publishing standards that preserve the integrity of scholarship</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Bring junior and senior scholars and editors together through a constructive, double-blind peer-review process</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Generate content of lasting intellectual interest to emerging and tenured scholars</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Provide a forum for junior and senior scholars to develop under-researched topics and experimental methodological approaches</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Make scholarly writing free and accessible online</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Lead critical discussions around current publications and developments in curatorial and artistic practice in flexible formats.</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Link art historical practice to a global discussion of visual cultures across disciplinary and methodological boundaries.</p> </li> <li class="show" dir="ltr">Encourage non-traditional formats</li> </ul> University Library System, University of Pittsburgh en-US Contemporaneity: Historical Presence in Visual Culture 2153-5914 <p>Authors who publish with this journal agree to the following terms:</p><ol><li>The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.</li><li>Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.</li><li>The Author shall grant to the Publisher and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a <a title="CC-BY" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a> or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:<ol type="a"><li>Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site;</li></ol>with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.</li><li>The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal's published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.</li><li>Authors are permitted and encouraged to post online a prepublication manuscript (but not the Publisher’s final formatted PDF version of the Work) in institutional repositories or on their Websites prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work. Any such posting made before acceptance and publication of the Work shall be updated upon publication to include a reference to the Publisher-assigned DOI (Digital Object Identifier) and a link to the online abstract for the final published Work in the Journal.</li><li>Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, at the Author’s own expense, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use.</li><li>The Author represents and warrants that:<ol type="a"><li>the Work is the Author’s original work;</li><li>the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;</li><li>the Work is not pending review or under consideration by another publisher;</li><li>the Work has not previously been published;</li><li>the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and</li><li>the Work contains no libel, invasion of privacy, or other unlawful matter.</li></ol></li><li>The Author agrees to indemnify and hold Publisher harmless from Author’s breach of the representations and warranties contained in Paragraph 6 above, as well as any claim or proceeding relating to Publisher’s use and publication of any content contained in the Work, including third-party content.</li></ol><p><span style="font-size: 75%;">Revised 7/16/2018. Revision Description: Removed outdated link. </span></p> Yesterday's Contemporaneity: Finding Temporality in the Past https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/297 <p>Editorial Statement for volume eight of <em>Contemporaneity: Historical Presence in Visual Culture</em>.</p> Jacqueline M. Lombard Copyright (c) 2019 Jacqueline M. Lombard http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 i iv 10.5195/contemp.2019.297 Timelessness and Precarity in Orientalist Temporality: Mehdi-Georges Lahlou’s Aesthetics of Disorientation https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/272 <p><em>The Hourglasses </em>(2015), by French-Moroccan artist Mehdi-Georges Lahlou, features five large hourglasses displayed artifact-like upon a table. As one would expect of an hourglass, these glass sculptures can be inverted to measure out time. This, though, is where convention ends, as these are filled with couscous, not sand. Unlike sand, couscous cannot measure time consistently and the inversion of any one of these five hourglasses results in a different measurement of time. In effect, they disorient any linear notion of temporality, raising the specter of Orientalism and its fantasy of a timeless East. Mehdi-Georges works in a diverse range of media including performance, sculpture, installation, and self-portraiture. Dealing with race, gender, sexuality, colonialism, identity, and representations of Islam and Catholicism, his work performs the instability in all these categories by critically complicating fantasies of “East” and “West” without relying on a mere binary reversal of meaning. Contextualizing his work within a larger history of Orientalism, my argument begins first with Percy Bysshe Shelley’s poem “Ozymandias,” composed in 1817, followed by an analysis of nineteenth- and twentieth-century Orientalist paintings before leading to a concise discussion of contemporary Orientalism in art and art discourse. My analysis then circles back to the artist’s work to insist that Orientalism’s fantastical invocation of the East remains a disabling presence in the contemporary imaginary. Orientalism’s temporality, as glimpsed obliquely from Mehdi-Georges Lahlou’s hyphenated identity, is likewise rendered unstable in his work. As seen in <em>The Hourglasses</em>, his work produces what I call “an aesthetic of disorientation,” predicated on the artist’s embodied cultural hyphenation, which renders the Orientalist fantasy of the East absurd through its own tropes of representation. By bringing queer theory and disability studies to bear on his work, I show how his practice engages with Orientalism’s temporality to open up new possibilities of perceiving the world.</p> Conor Moynihan Copyright (c) 2019 Conor Moynihan https://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 1 22 10.5195/contemp.2019.272 “So shall yoe bee:” Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/280 <p class="AbstractText">The Beresford Monument from the Church of St Edmund at Fenny Bentley in Derbyshire is a funerary monument that has received relatively little attention from scholars due to its unusual imagery and the lack of documentary evidence regarding its creation. The alabaster monument depicts Thomas Beresford (d. 1473) and Agnes Hassall (d. 1467) as fully shrouded three-dimensional effigies. Incised around the base of the monument are enshrouded representations of their twenty-one children. This paper analyzes the impact that veiling the bodies of Thomas Beresford and Agnes Hassall has on the effectiveness of the monument as a commemorative tool and situates the shrouded effigies within their broader visual and social context at the turn of the sixteenth century. Rather than dismiss the unusual imagery of the Beresford Monument as an expedient solution selected by sculptors who did not know what Thomas Beresford and Agnes Hassall actually looked like, this paper argues that shrouding the effigies was a deliberate commemorative strategy meant to evoke specific responses in the monument’s viewers. Although there is little concrete information about the tomb’s commission, contextualizing it by examining the monument in concert with other aspects of late medieval culture—including purgatorial piety, macabre texts and imagery, and <em>ex votos</em>—can provide a richer understanding of the object’s potentiality for its beholders. The anonymizing aspect of the shroud ultimately enabled viewers to identify freely and easily with the individuals depicted on the monument, which would have encouraged them to pray for the souls of Thomas and Agnes, thus perpetuating their memories and reducing their time in purgatory.</p> Aimee Caya Copyright (c) 2019 Aimee Caya https://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 23 38 10.5195/contemp.2019.280 Sacred Substantiations: Lincoln Casts and Statuary in the American Imagination https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/287 <p class="AbstractText">On March 31, 1860, Abraham Lincoln waited in the studio of Leonard Wells Volk as a plaster mold hardened around his face and head. After one hour, Volk removed the mold; he later repeated the process for Lincoln’s hands. The resulting life casts elicited profound emotional reactions in those who saw them. Augustus Saint-Gaudens recognized and capitalized on their invaluable status as candid indexes of Lincoln’s likeness in his 1887 Chicago monument,&nbsp;<em>Abraham Lincoln: The Man</em>. In the words of sculptor Lorado Taft, “It does not seem like a bronze. . . . One stands before it and feels himself in the very presence of America’s soul.”</p> <p class="AbstractText">It was also Saint-Gaudens who amplified the casts’ influence through the manufacture of a prized series of thirty-three bronze replicas.<em>&nbsp;</em>The actual and imagined characteristics of these casts—their sense of possessing a “soul,” and their physical manifestation of Lincoln’s touch—all warrant consideration of their place within the larger tradition of holy relics. This paper posits the Lincoln casts as “contact relics” and establishes the generative potential of such a numinous categorization for American audiences, especially in the wake of the Civil War. Volk’s direct impressions of Lincoln’s visage and hands provided the “blueprints,” so to speak, for an astonishingly wide variety of sculptural manifestations—from the iconic&nbsp;<em>Lincoln Memorial</em>&nbsp;(1920) by Daniel Chester French to&nbsp;<em>Abraham Lincoln</em>&nbsp;(1917) by George Grey Barnard. This essay argues that the cultural impact of this sculptural genealogy is largely indebted to the casts’ material substantiations of Lincoln’s bodily presence and touch. Indeed, by situating these objects between medieval and modern modes of viewing, it will become clear that the casts, as progeny of the original life molds, afforded an affective, even remedial, authenticity for subsequent Lincoln monuments in the American imagination.</p> Ramey Mize Copyright (c) 2019 Ramey Mize http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 39 56 10.5195/contemp.2019.287 The Canaries of Democracy: Imagining the Wandering Jew with Artist Rosabel Rosalind Kurth-Sofer https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/286 <p>.</p> Rae Di Cicco Rosabel Rosalind Kurth-Sofer Thomas M. Messersmith Copyright (c) 2019 Rae Di Cicco, Rosabel Rosalind Kurth-Sofer, Madison Tarleton https://creativecommons.org/licenses/by/4.0 2019-10-31 2019-10-31 8 57 79 10.5195/contemp.2019.286 Are Indians in America's DNA? https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/288 <p>A conversation between Dr. Monika Siebert and Marina Tyquiengco on:</p> <p><em>&nbsp;</em></p> <p><em>Americans</em></p> <p>National Museum of the American Indian</p> <p>January 18, 2018–2022</p> <p>Washington, D.C.</p> <p><em>&nbsp;</em></p> <p>Monika Siebert<em>, Indians Playing Indian: Multiculturalism and Contemporary Indigenous Art in North America. </em>Tuscaloosa: University of Alabama Press, 2015.</p> Marina Tyquiengco Monika Siebert Copyright (c) 2019 Marina Tyquiengco, Monika Siebert http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 80 97 10.5195/contemp.2019.288 From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/284 <p>In this conversation between Gabriel Garcilazo and Adriana Miramontes Olivas, Garcilazo explains his interest in appropriating popular culture and historical documents such as the sixteenth-century <em>Codex Azcatitlan</em>. His artwork <em>Dystopic Magical Codex</em> (2015) examines the recent war on drugs in Mexico and its consequences through spatial and temporal elements that reconsider concepts of borders, nations, and trade. The conversation is introduced in a brief essay in which Miramontes Olivas contextualizes Garcilazo’s codex. She argues that Garcilazo criticizes state apparatus rhetoric on the war on drugs and harsh immigration policies, demanding the conceptualization of alternative solutions that could reduce both the carnage and the exodus of those living in fear. He also warns, as have other contemporary artists from Mexico, against new forms of colonization and master narratives that homogenize and hamper border-crossing and interaction among cultures.</p> Adriana Miramontes Olivas Gabriel Garcilazo Copyright (c) 2019 Adriana Miramontes Olivas https://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 98 118 10.5195/contemp.2019.284 Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/290 <p>Book Review: Sandra Cardarelli and Laura Fenelli, eds., <em>Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance</em>. Tournhout: Brepols, 2017. 318pp; 87 color ills.; 30 b/w ills. Hardcover €120.00 (9782503568188)</p> Andrea Kibler Maxwell Copyright (c) 2019 Andrea Kibler Maxwell http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 119 122 10.5195/contemp.2019.290 Raphael and the Redefinition of Art in Renaissance Italy https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/291 <p>Book Review: Robert Williams, <em>Raphael and the Redefinition of Art in Renaissance Italy</em>. Cambridge: Cambridge University Press, 2017. 314 pp.; 113 b/w ills. Hardcover $105.00 (9781107131507)</p> Christopher J. Nygren Copyright (c) 2019 Christopher J. Nygren http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 123 126 10.5195/contemp.2019.291 Art and Miracle in Renaissance Tuscany https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/293 <p>Book Review: Robert Maniura, <em>Art and Miracle in Renaissance Tuscany.</em> Cambridge: Cambridge University Press, 2018. 276 pp.; 59 b/w ills. Hardcover $99.99. (9781108426848)</p> Sarah Reiff Conell Copyright (c) 2019 Sarah Conell http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 127 130 10.5195/contemp.2019.293 Fujiwo Ishimoto Exhibition: From Marimekko Flowers to Ceramic Fruits in Dialogue with the Rinpa https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/292 <p>Exhibition Review</p> <p>Exhibition catalog: Yoshinao Yamada, <em>Fujiwo Ishimoto: From Marimekko Flowers to Ceramic Fruits</em>. Tokyo: Wacoal Art Center, 2018. 23 pp. ¥1,188</p> <p>Exhibition schedule: The Museum of Art, Ehime, October 27 – December 16, 2018; Hosomi Museum, Kyoto, March 9 - April 21, 2019; Spiral Garden, Tokyo, June 19 – June 30, 2019.&nbsp;</p> Carolyn Wargula Copyright (c) 2019 Carolyn Wargula http://creativecommons.org/licenses/by/4.0 2019-10-30 2019-10-30 8 131 134 10.5195/contemp.2019.292 Erratum to: Miramontes Olivas, A., & Garcilazo, G. (2019). From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex. Contemporaneity: Historical Presence in Visual Culture, 8, 98-118. https://doi.org/10.5195/contemp.2019.284 https://contemporaneity.pitt.edu/ojs/contemporaneity/article/view/298 <p>Erratum to: Miramontes Olivas, A., &amp; Garcilazo, G. (2019). From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex. <em>Contemporaneity: Historical Presence in Visual Culture</em>, 8, 98-118.&nbsp;<a href="https://doi.org/10.5195/contemp.2019.284">https://doi.org/10.5195/contemp.2019.284</a></p> <p>&nbsp;</p> <p>The original publication of this article included a misspelling of Gabriel Garcilazo's name in its title, incorrectly spelling Garcilazo's last name. The original article has been updated to reflect this change.</p> Jacqueline M. Lombard Copyright (c) 2019 Jacqueline M. Lombard http://creativecommons.org/licenses/by/4.0 2019-11-06 2019-11-06 8 10.5195/contemp.2019.298