Contemporaneity (E-Journal)
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Questionnaire: Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834
Full text linkResponse to the questionnaire: “Stationary Women Moving Through the World: The Church of the Sacred Heart of Jesus, Calcutta, founded by Mrs. Pascoa Barretto de Souza, 1834
how the light gets in: Herbert F. Johnson Museum of Art, Cornell University
Full text linkhow the light gets i
“India in America”: A Curatorial Conversation on the Work and Practice of Lockwood de Forest and The Ahmedabad Wood Carving Company
Full text linkA curatorial conversation between Nina Blomfield and Katie Loney on the work and practice of Lockwood de Forest and The Ahmedabad Wood Carving Company. This conversation is based on a public conversation held on October 3, 2019 at the University of Pittsburgh
“So shall yoe bee:” Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley
Full text linkThe 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 ex votos—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
From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex
Full text linkIn 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 Codex Azcatitlan. His artwork Dystopic Magical Codex (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
Yesterday\u27s Contemporaneity: Finding Temporality in the Past
No full textEditorial Statement for volume eight of Contemporaneity: Historical Presence in Visual Culture