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Divergence & Fragmentation: Contemporary Indigenous Art in the Mapped “Global” World

Written by Hannah Deskin Edited by Josephine Spalla In the art world, the global contemporary moment is characterized by a polarizing duality that scholars, artists,…

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The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins

Written by Brianne Chapelle, Edited by Miray Eroglu
Beheld retrospectively by the modern viewer, Lautrec’s representations of the can-can dancers, cabaret singers, and sex workers of Montmartre have been lifted into the “high art” realm. While his works now enjoy this elevated status in world class museum collections, they did not necessarily achieve this status in Lautrec’s lifetime, nor were they perhaps intended to do so.

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Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century

Written by Sophie Panzer Edited by Lucia Bell-Epstein Dutch genre paintings from the seventeenth century often portray women confined to the domestic sphere, idealizing their roles…

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Victim or Monster? Unreliable Narrator as Manipulator of Viewers’ Judgments on Legal Punishment

Written by Riley McKeown Edited by Lucia Bell-Epstein Humans respond physiologically to significant emotional events; for example, we may sweat when anxious or nervous, turn…

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The Reflection of Age and Beauty in Titian’s Late Style

Written by Huong Vu, Edited by Miray Eroglu.
Titian was one of the most important painters and renowned portraitists of the Renaissance, the age of cultural and artistic ‘rebirth’ in Europe. Titian’s two paintings: Portrait of a Man in a Red Cap (1516) and Portrait of Pietro Aretino (1537) are displayed on each side of Giovanni Bellini’s The Ecstasy of St. Francis (1475–1480) at The Frick Collection in New York City. This arrangement that juxtaposes youth and maturity demonstrates Titian’s stylistic development throughout his long reign over the Venetian school of painting in the sixteenth century.

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Composing a Room of One’s Own: Feminine and Erotic Space in the Work of Vanessa Bell

Written by Thomas Macdonald, Edited by Émilie Perring.
Active between 1906 and 1961, Vanessa Bell was a prolific painter, interior designer, and one of the most consequential members of the Bloomsbury Group of artists, which included her sister Virginia Woolf, her husband Clive Bell, Duncan Grant, Roger Fry, and Dora Carrington. Despite her influence, critical attention to her work has long been inadequate and negatively gendered.

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