Reframing the Renaissance: Visual Culture in Europe and Latin America 1450-1650

Farago, Claire; Kennedy, Judith M.

doi:10.33137/rr.v33i1.11329

Cited by 14 publications

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“…As art historian Claire Farago has pointed out many times, these formulations were not invented out of thin air in the Early Modern period but are based on beliefs articulated by Aristotle and other Greek and Roman thinkers taken by Europeans to be the "origins" of European culture. See her edited volume, (Farago 1995). I am deeply indebted to Farago, who is a historian of early modern art and culture, for our ongoing conversations on these historical questions.…”

Section: Conflicts Of Interestmentioning

confidence: 99%

Who Is an Artist? Identity, Individualism, and the Neoliberalism of the Art Complex

Jones

2023

Arts

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The fantasized artist-as-origin began as the quintessential figure manifesting Enlightenment European concepts of individual autonomy and sovereign subjectivity—and thus of identity and meaning as these come to define and situate human expression as well as securing educated, middle-class, European white male hegemony in the Euro-American context. While we think of this conventional figure of the straight white male artist as old-fashioned, as having been relentlessly critiqued since the mid-twentieth century by artists, often from a feminist, queer, anti-racist, or decolonial perspective, this article asserts that the artistic author still drives much of the discourse as well as underlying the money and status attached to visual art today. Citing key works by a range of contemporary artists who have challenged these value systems—Cassils, rafa esparza, James Luna, Guillermo Gómez-Peña, and Susan Silton—this article foregrounds the critique of whiteness and masculinity and the interrogation of capitalism and neoliberalism necessary to interrogating these structures of value attached to artistic authorship.

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Section: Conflicts Of Interestmentioning

confidence: 99%

Who Is an Artist? Identity, Individualism, and the Neoliberalism of the Art Complex

Jones

2023

Arts

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Beyond Mimesis and Convention

Frigg¹,

Hunter²

2010

Boston Studies in the Philosophy of Science

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Concepts of Spiritual Nourishment in the Andes And Europe: Rosaries in Cross‐Cultural Contexts

Dransart

2002

Royal Anthropological Inst

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This article explores visual imagery connected with the Christian rosary and its connotations of spiritual nourishment in European art and Andean ritual practices. Early eighteenth‐century religious art inspired by a vision received by Isidoro of Seville, a Capuchin friar, presented the Virgin Mary as the Divine Shepherdess with her flock of Christians, depicted as sheep with roses in their mouths. This imagery resonates in the flowering ceremony practised by Aymara pastoralists in Isluga, Chile. The floreo serves as a rite of passage for herd animals, its intention being to enhance their fertility by making them ‘flower’. However the congruence between the visual codes produced by Europeans and Andeans conveys related but different social and moral messages. Whereas sheep can represent human beings in Christian art, they cannot stand in for human beings in Isluga, since Isluga people recognize that both human and herd animals require spiritual nourishment.

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Reframing the Renaissance: Visual Culture in Europe and Latin America 1450-1650

Cited by 14 publications

References 0 publications

Who Is an Artist? Identity, Individualism, and the Neoliberalism of the Art Complex

Who Is an Artist? Identity, Individualism, and the Neoliberalism of the Art Complex

Beyond Mimesis and Convention

Concepts of Spiritual Nourishment in the Andes And Europe: Rosaries in Cross‐Cultural Contexts

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