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In the heyday of Civil War commemoration at the turn of the twentieth century, Mississippi’s Vicksburg National Military Park was considered “the art park of the South.” By 1920, more than 160 portrait statues, busts, and reliefs of Vicksburg’s defenders under Gen. John C. Pemberton and the besieging Union army commanded by Gen. Ulysses S. Grant lined the tour route along the earthworks around the Gibraltar of the Confederacy. Most of the memorial art and architecture was built in the classical revival Beaux-Arts style popular following the World’s Columbian Exposition of 1893. The federal government, states, and individual patrons commissioned dozens of sculptors and architects to create these enduring structures, marking the historic battlefield and commemorating the men and events involved in the campaign and siege of Vicksburg.
The Memorial Art and Architecture of Vicksburg National Military Park chronicles the preservation of the battlefield and its establishment as the southernmost of five national military parks formed in the 1890s. It illuminates and illustrates the complex patronage, design, and construction processes—including bronze casting and stone carving—in a fluent fashion appealing to general readers and Civil War buffs, as well as to scholars of collective memory and American cultural history.
This compact guidebook is handy for use in the field (on foot or in the car) and in the comfort of a favorite reading chair. It includes an illustrated driving tour, thematic discussions of Vicksburg’s equestrian monuments and portrait statuary, biographical information about the designers, and a glossary of monument terminology. Panhorst’s insightful analysis and stunning full color photographs of Vicksburg’s memorial art and architecture help readers appreciate fully the beauty and significance of “the art park of the South.”
The Forgotten Women Artists of Vienna 1900
The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. However, and especially because so many of the artists were Jewish, their contributions were actively obscured beginning in the late 1930s. Many had to flee Austria, losing their studios and lifework in the process. Some were killed in concentration camps. Along with the stories of individual women artists, the author reconstructs the history of separate women artists’ associations and their exhibitions. Chapters covering the careers of Tina Blau, Elena Luksch-Makowsky, Helene Funke, and Teresa Ries (among others) point to a more integrated and cosmopolitan art world than previously thought; one where women became part of the avant-garde, accepted and even highlighted in major exhibitions at the Secession and with the Klimt group. “This is an excellent addition to the literature on fin-de-siècle Vienna, well-researched and well-argued. It highlights little-known artists and situates them in a novel interpretation of women’s roles in the art world. The author challenges dominant tropes of feminist historiography and thus sheds new light on twentieth-century art history and historiography,” Michael Gubser, James Madison University.
Vol. 31, no. 1 (1985) through current issue
MFS publishes theoretically engaged and historically informed articles on modernist and contemporary fiction. The journal's substantial book review section keeps readers informed about current scholarship in the field. MFS alternates general issues with special issues focused on individual novelists or topics that challenge and expand the concept of "modern fiction."
Vol. 1 (1994) through current issue
Concentrating on the period extending roughly from 1860 to the mid-twentieth century, Modernism/modernity focuses on the methodological, archival, and theoretical approaches particular to modernist studies. It encourages an interdisciplinary approach linking music, architecture, the visual arts, literature, and social and intellectual history. The journal's broad scope fosters dialogue between social scientists and humanists about the history of modernism and its relations to modernization. Each issue features a section of thematic essays as well as book reviews and a list of books received. Modernism/modernity is the official journal of the Modernist Studies Association (MSA). Winner of six awards from CELJ!
Pioneering Medical Education in Texas
Tucked away in a corner of the University of Texas Medical Branch campus stands a majestic relic of an era long past. Constructed of red pressed brick, sandstone, and ruddy Texas granite, the Ashbel Smith Building, fondly known as Old Red, represents a fascinating page in Galveston and Texas history. It has been more than a century since Old Red welcomed the first group of visionary faculty and students inside its halls. For decades, the medical school building existed at the heart of UTMB campus life, even through periods of dramatic growth and change. In time, however, the building lost much of its original function to larger, more contemporary facilities. Today, as the oldest medical school building west of the Mississippi River, the intricately ornate Old Red sits in sharp contrast to its sleeker neighbors.
Old Red: Pioneering Medical Education in Texas examines the life and legacy of the Ashbel Smith Building from its beginnings through modern-day efforts to preserve it. Chapters explore the nascence of medical education in Texas; the supreme talent and genius of Old Red architect, Nicholas J. Clayton; and the lives of faculty and students as they labored and learned in the midst of budget crises, classroom and fraternity antics, death-rendering storms, and threats of closure. The education of the state’s first professional female and minority physicians and the nationally acclaimed work of physician-scientists and researchers are also highlighted. Most of all, the reader is invited to step inside Old Red and mingle with ghosts of the past—to ascend the magnificent cedar staircase, wander the long, paneled hallways, and take a seat in the tiered amphitheater as pigeons fly in and out of windows overhead.
Historic Preservation and the Modern City
Architectural Mimicry in Contemporary China
A 108-meter high Eiffel Tower rises above Champs Elysées Square in Hangzhou. A Chengdu residential complex for 200,000 recreates Dorchester, England. An ersatz Queen’s Guard patrols Shanghai’s Thames Town, where pubs and statues of Winston Churchill abound. Gleaming replicas of the White House dot Chinese cities from Fuyang to Shenzhen. These examples are but a sampling of China’s most popular and startling architectural movement: the construction of monumental themed communities that replicate towns and cities in the West.
Original Copies presents the first definitive chronicle of this remarkable phenomenon in which entire townships appear to have been airlifted from their historic and geographic foundations in Europe and the Americas, and spot-welded to Chinese cities. These copycat constructions are not theme parks but thriving communities where Chinese families raise children, cook dinners, and simulate the experiences of a pseudo-Orange County or Oxford.
In recounting the untold and evolving story of China’s predilection for replicating the greatest architectural hits of the West, Bianca Bosker explores what this unprecedented experiment in “duplitecture” implies for the social, political, architectural, and commercial landscape of contemporary China. With her lively, authoritative narrative, the author shows us how, in subtle but important ways, these homes and public spaces shape the behavior of their residents, as they reflect the achievements, dreams, and anxieties of those who inhabit them, as well as those of their developers and designers.
From Chinese philosophical perspectives on copying to twenty-first century market forces, Bosker details the factors giving rise to China’s new breed of building. Her analysis draws on insights from the world’s leading architects, critics and city planners, and on interviews with the residents of these developments.
69 illus., 54 in color
For sale in East Asia, Australia, and New Zealand by Hong Kong University Press
From William Hogarth to Winsor McCay
In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States.
Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Töpffer, Gustave Doré, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form.
One hundred years ago, architects found in the medium of photography—so good at representing a building’s lines and planes—a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication.
Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her “picture anthropology” demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up “photographic architecture,” Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism.
In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture—transforming how we see the world and how we act on it.