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Articles on this Page
- 07/13/09--05:00: _Morning Coffee
- 12/16/13--15:00: _People of Color in ...
- 12/23/14--15:00: _Down There
- 03/11/15--17:00: _Keep Warburg Weird
- 04/27/15--13:00: _Didn’t Know a Thing
- 10/10/15--06:00: _The Saturday Rumpus...
- 10/13/15--06:00: _A Gold Medal Approv...
- 11/09/15--15:00: _A Figurative Recove...
- 12/28/15--15:00: _The Art of the Pros...
- 01/18/16--11:00: _History in Color
- 01/25/16--16:00: _Picturing a New Sha...
- 02/16/16--16:00: _Erotica Illustrated
- 10/18/16--12:00: _The Rumpus Poetry B...
- 03/12/18--00:01: _Just Doing It: A Co...
- 07/13/09--05:00: Morning Coffee
- 12/16/13--15:00: People of Color in Medieval Art
- 12/23/14--15:00: Down There
- 03/11/15--17:00: Keep Warburg Weird
- 04/27/15--13:00: Didn’t Know a Thing
- 10/10/15--06:00: The Saturday Rumpus Interview: Karrie Higgins
- 10/13/15--06:00: A Gold Medal Approval Rating
- 11/09/15--15:00: A Figurative Recovery from War
- 12/28/15--15:00: The Art of the Prostitute
- 01/18/16--11:00: History in Color
- 01/25/16--16:00: Picturing a New Shakespeare
- 02/16/16--16:00: Erotica Illustrated
- 10/18/16--12:00: The Rumpus Poetry Book Club Chat with Janice N. Harrington
- 03/12/18--00:01: Just Doing It: A Conversation with Mallory Ortberg
Dolphin inspired personal submarines: for when you have both way too much money and freetime.
The blog’s creator, Malisha Dewalt, recently participated in a roundtable chat with other art historians and medievalists for NPR’s Code Switch.
In light of Plush, Marilyn Minter’s new book of pubic hair photography, Vulture looks back on the history of the female bush in Western art. Like the women who owned them, pubes through the ages were nearly invisible:
Of course other artists had painted female pubic mounds aplenty, but these works were strictly pornographic.
The future of the Warburg Institute, one of London’s most influential and strangest libraries, is examined at length in this week’s New Yorker. Adam Gopnik covers the history of the center, from its founding in pre-Nazi Germany through the height of its influence on the world of art history, and attempts to articulate the particular properties of Warburg, the philosophy and aesthetics and modes of scholarship, that make it unique.
BOMB Magazine continues its Oral History project: a collection of oral biographies about New York City’s African-American artists. This week, Alteronce Gumby’s subject is Stanley Whitley:
Stanley told me once, “There are many art histories … and many art worlds.” The more I talked to him about his work and influences, the more I found that statement to be true.
The more narratives that approach reality "differently" get treated as "insane" or "unreal," the less readers are exposed to them, and the more "unreal" or "insane" they seem. It's like a feedback loop.
For Hyperallergic, Allison Meier takes a look at the image management of Louis XIV’s reign as told through the medium of elaborate and intricate medals that traveled across late 17th and early 18th century Europe. On display at the British Museum are the plans, designs, and final versions of these medals celebrating Louis XIV’s reign, as well as medals made in other countries to mock his grandiosity.
In his review for Hyperallergic of a new MOMA exhibit, Thomas Micchelli writes about the work of artists during and immediately after their experiences in World War II. In the exhibit, Soldier, Spectre, Shaman: The Figure and the Second World War, Micchelli claims that the 20th century art historical record finally will be reconciled with the inclusion of figurative art from this period.
Joseph Nechvatal writes for Hyperallergic on the Musée d’Orsay’s “splendid but miserable” collection of art from around Paris’s Belle Époque, a collection that focuses specifically on the representation of prostitutes in the period’s cultural climate.
At Hyperallergic, Chris Cobb explores new photography exhibits featuring over 200 color photos from a recently rediscovered collection by Gordon Parks. The collection dates from 1956, when Parks was commissioned by LIFE magazine to capture the day-to-day of black families in segregated Alabama.
At Hyperallergic, Allison Meier reviews a new collection that gathers posters for productions of Shakespeare from around the world. This collection has posters from fifty-five countries, ranging from the earliest advertisements for Shakespeare’s plays into productions from the present day.
For Hyperallergic, Claire Voon tours the New York Public Library’s collection of historical erotica, ranging from 15th century illustrations of eroticized mythological scenes to risqué 19th century photographs kept safe by owners in the pages of their books.
Janice N. Harrington on her new collection Primitive and critiquing the use of "primitive" to describe African American folk art.
Mallory Ortberg discusses their new book, The Merry Spinster: Tales of Everyday Horror, what it means to be a self-taught writer, and questioning gender.