December 2011 Issue of ‘The Art Bulletin’

Posted in journal articles by Editor on December 2, 2011

The eighteenth century in the latest issue of The Art Bulletin:

James M. Córdova, “Clad in Flowers: Indigenous Arts and Knowledge in Colonial Mexican Convents,” The Art Bulletin 93 (December 2011): 449-67.

Nuns in New Spain (colonial Mexico) wore spectacular flowery trappings when they professed and again when reposing on their funeral biers. Local artists, commissioned by the nuns’ families and convents, captured these stunning images. Despite differences in ethnicity, religious order, age, and other factors that distinguished these women, their flowery trappings have the effect of establishing an iconic image of the New Spanish nun. Furthermore, their regalia, which combine Euro-Christian and Mesoamerican practices and beliefs, not only represented the preeminence of the “brides of Christ,” they also conjured the spiritual transformations that nuns experienced in their ritual lives.

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Étienne P. H. Jollet, Review of Frank Fehrenbach’s Compendia Mundi: Gianlorenzo Berninis “Fontana dei Quattro Fiumi” (1648-51) und Nicola Salvis “Fontana di Trevi” (1732-62), The Art Bulletin 93 (December 2011): 491-94.

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N.B. — Notice of Jollet’s review did not appear in the original posting from 2 December 2011; it was added on 9 February 2012. I apologize for the initial oversight. -CH

Installing a Ceramic Room in Honolulu

Posted in Member News, museums by Editor on December 2, 2011

As a follow-up to yesterday’s essay from Amanda Strasik, which relied heavily upon an interview she conducted with Amber Ludwig, today’s posting gives us a glimpse at one of the projects keeping Amber busy these days . . . From her posting at the Honolulu Academy of Arts Blog (1 November 2011) . . .

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Many museums are reinstalling their ceramics collections in a manner that reflects the high point of innovation in Western ceramics—the 18th century. It was during the early 18th century that Europeans were finally able to produce the strong, thin, white-bodied ceramic known as porcelain, some 1,100 years after the Chinese began making it. Porcelain was so highly valued in the Western world that wealthy collectors displayed their collections not in large breakfronts or atop delicate tea tables, but in entire rooms filled floor-to-ceiling with “white gold,” as porcelain was commonly called.

Gallery five at the Honolulu Academy of Arts is the second gallery to be reinstalled as part of a year-long curatorial project that began with gallery four.  The new design of gallery five includes a ceramics cabinet that reflects this curatorial trend of large-scale installations of porcelains and other ceramics. Currently, gallery five displays exquisite examples of 17th-century painting and sculpture.  Soon, however, it will be reinstalled with European and American paintings and sculpture from the 18th and 19th centuries and will also include a floor-to-ceiling ceramics display, meant to evoke the great “ceramic rooms” of the 18th century.

I was hired in September as the Curatorial Assistant to Theresa Papanikolas, Curator of European and American Art, and, for my first project, Theresa asked me to research the Academy’s collection of European and American ceramics for the reinstallation. My academic background is 18th- and 19th-century European art, so this is a good fit and something I am enjoying immensely. For the past month, I’ve been scouring the Academy’s holdings of European ceramics to determine a checklist and to create a design for the gallery five ceramics cabinet. I find myself often visiting the Seattle Art Museum’s Guide to the Porcelain Room for inspiration. . . .

The full posting is available here»

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