Project MUSE®: Getty Research Journal - Latest Articles
https://muse.jhu.edu/journal/871
Project MUSE®: Latest articles in Getty Research Journal.daily12026-05-13T00:00:00-05:00text/htmlen-USNo. 1 (2009) through current issueLatest Articles: Getty Research JournalTWOProject MUSE®Getty Research Journal2329-12491944-8740Latest articles in Getty Research Journal. Feed provided by Project MUSE®Editor’s Note
https://muse.jhu.edu/article/960463
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The appearance of this twentieth issue of the Getty Research Journal marks its first year as an open-access publication. Freely accessible to anyone with an internet connection in web, PDF, and e-book formats, the journal has dramatically expanded its readership worldwide. Our editorial and production teams have learned countless lessons along the way, and there is no doubt that the learning process will continue as new challenges arise in an ever-evolving digital landscape. We are grateful to our authors and readers, longstanding and newfound alike, for joining us in the cybersphere and supporting this historic transition.Several momentous changes have taken place for the journal since the publication of our first
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallEditor’s Note2025-05-27text/htmlen-USEditor’s Note2025-05-272025TWOProject MUSE®172222026-05-13T00:00:00-05:002025-05-27Remembering and Remaking Christofle et Cie’s Second Empire
https://muse.jhu.edu/article/960464
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When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object.Late in the second half of the nineteenth century, the Parisian fine metalworking firm Christofle et Cie embarked on a project to remake some of its lost Second Empire objects. This effort to reconstitute artifacts of the recent past joined the firm’s ongoing interest in making goods for a market of new consumers to ensure the commercial and historical legacy of the firm. Although founded in the 1830s by jeweler Charles Christofle, the company flourished in the middle years of the nineteenth century, especially because of its considerable favor under
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallRemembering and Remaking Christofle et Cie’s Second Empire2025-05-27text/htmlen-USRemembering and Remaking Christofle et Cie’s Second Empire2025-05-272025TWOProject MUSE®982212026-05-13T00:00:00-05:002025-05-27Victorious Laughter: Satirical Photomontage in Brigade KGK’s Photo Series From the 16th to the 17th Congress of the All-Union Communist Party (Bolsheviks)
https://muse.jhu.edu/article/960465
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In 1934, Soviet artists Viktor Koretsky, Vera Gitsevich, and Boris Knoblok created a series of photomontages under their working name, Brigade KGK, to illustrate a major political speech by Joseph Stalin. Of the three artists, the best known today is Koretsky, a Kyiv-born graphic artist twice awarded the Stalin Prize for posters he designed during World War II. After completing his education in 1929 at the Moscow State College of Visual Arts in Memory of the 1905 Uprising, Koretsky worked intermittently with Gitsevich (his wife) and Knoblok, creating stage designs for the realist theater of Nikolai Okhlopkov and producing graphic design for the State Fine Arts Publishing House, Izogiz.1 Brigade KGK achieved its
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallVictorious Laughter: Satirical Photomontage in Brigade KGK’s Photo Series From the 16th to the 17th Congress of the All-Union Communist Party (Bolsheviks)2025-05-27text/htmlen-USVictorious Laughter: Satirical Photomontage in Brigade KGK’s Photo Series From the 16th to the 17th Congress of the All-Union Communist Party (Bolsheviks)2025-05-272025TWOProject MUSE®1070092026-05-13T00:00:00-05:002025-05-27Bennett Buck’s Good Neighbor Policy: A Case of Mistaken Identity
https://muse.jhu.edu/article/960466
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For many scholars, times of quarantine during the COVID-19 pandemic encouraged the resolution of unfinished projects; in my case, I turned my attention to a faded pink folder of photocopies that I had kept close at hand through various long-distance moves for more than a quarter century. Reviewing and reconsidering those documents has generated a close reading of a forgotten painting and its checkered history, in which a failure of connoisseurship is offset by historical recovery. At the heart of the matter is a case of willful misattribution—rather than fakery—substantiated by documents both falsified and misleading. This is a problem that still plagues the field of Latin American art, where the need for scholarly
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallBennett Buck’s Good Neighbor Policy: A Case of Mistaken Identity2025-05-27text/htmlen-USBennett Buck’s Good Neighbor Policy: A Case of Mistaken Identity2025-05-272025TWOProject MUSE®1280672026-05-13T00:00:00-05:002025-05-27Talking Criticism with David Antin, or Criticism at the Boundaries
https://muse.jhu.edu/article/960467
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What have we been doing? What are we addressing ourselves to, in what way, who do we hope to talk to, and in view of what urgencies?In the 1960s, David Antin’s work moved along two parallel tracks. Deeply involved with the New American Poetry, he wrote poems “with prefabricated and readymade materials, recycling texts and fragments of texts, enclosing valuable and used up talk and thought and feeling, hoping to save what was worth saving, liberate it and throw the rest away.”1 Between 1965 and 1968, he also edited, alongside poet and translator Jerome Rothenberg, four issues of the poetry journal some/thing, which featured work by writers such as Jackson Mac Low and Margaret Randall, its covers graced with work by
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallTalking Criticism with David Antin, or Criticism at the Boundaries2025-05-27text/htmlen-USTalking Criticism with David Antin, or Criticism at the Boundaries2025-05-272025TWOProject MUSE®1003712026-05-13T00:00:00-05:002025-05-27Lisette Model: Twelve Photographs: The Limited-Edition Portfolio and the Market for Photographic Prints in the United States
https://muse.jhu.edu/article/960468
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“I have no prints. There is nothing,” declared photographer Lisette Model in the summer of 1975. She was sitting at the café in the Museum of Modern Art (MoMA), New York, across the table from Gerd Sander, established professional printer and grandson of German photographer August Sander. Having recently moved to the United States to open an art gallery in Washington, DC, Gerd Sander had just told Model of his hopes to open his gallery with a monographic exhibition of her work, which would be her first solo gallery exhibition of works for sale. Model was keen but insisted, “there is no work.”1The problem was not that she truly lacked prints. Rather, what she did have was more akin to artifacts—the remnants of a
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallLisette Model: Twelve Photographs: The Limited-Edition Portfolio and the Market for Photographic Prints in the United States2025-05-27text/htmlen-USLisette Model: Twelve Photographs: The Limited-Edition Portfolio and the Market for Photographic Prints in the United States2025-05-272025TWOProject MUSE®1351172026-05-13T00:00:00-05:002025-05-27Unlocking Heritage at the Eastern State Penitentiary
https://muse.jhu.edu/article/960469
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Eastern State Penitentiary is a decommissioned state prison in Philadelphia that opened in 1829, was registered as a US National Historic Landmark in 1965, and closed its carceral operations in 1971. The building and grounds subsequently sat vacant before reopening as Eastern State Penitentiary Historic Site in 1994 (fig. 1). The site is maintained as a stabilized ruin, with the building and grounds preserved in some state of ruin rather than having been restored to their original condition, which gives the site a feeling of abandonment. However, the mission of Eastern State is anything but abandonment, seeking instead “public understanding of the criminal justice system and its impact on the lives of those
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallUnlocking Heritage at the Eastern State Penitentiary2025-05-27text/htmlen-USUnlocking Heritage at the Eastern State Penitentiary2025-05-272025TWOProject MUSE®1191402026-05-13T00:00:00-05:002025-05-27Like Father, Like Daughter: A Sketchbook Shared by Raymond and Rosa Bonheur, Rediscovered
https://muse.jhu.edu/article/960470
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In early June 1900, a two-week-long auction was coming to a close at the Galerie Georges Petit but still drawing crowds—everyone in Paris wanted to see the art hitherto cached in the studio of Rosa Bonheur (1822–99).1 The painter had risen to great prominence in France, England, and the United States with The Horse Fair (1853–55) and filled her home and studio, the Château de By, with a menagerie of animals that rivaled the zoo at the Jardin des Plantes. The most successful woman artist of the century by any measure, she had also expressly forbidden such a public and large-scale sale.2 But shortly after Bonheur’s death in May 1899, the inheritor of her estate, German-American painter Anna Klumpke (1856–1942), caved
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallLike Father, Like Daughter: A Sketchbook Shared by Raymond and Rosa Bonheur, Rediscovered2025-05-27text/htmlen-USLike Father, Like Daughter: A Sketchbook Shared by Raymond and Rosa Bonheur, Rediscovered2025-05-272025TWOProject MUSE®596722026-05-13T00:00:00-05:002025-05-27Belonging Elsewhere: Felipe Baeza and Laura G. Gutiérrez in Conversation
https://muse.jhu.edu/article/960471
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On 10 September 2023, I greeted Felipe Baeza in Chicago at the National Museum of Mexican Art, a place that we had both visited on countless occasions but, to the best of our knowledge, never at the same time. The museum is in the Pilsen neighborhood, which has been home to different waves of migrants to the city, particularly people from Central and Eastern Europe and Mexico. The museum’s building was a shared point of reference, familiar to both of us as immigrants to Chicago. We set out on a walking tour of Pilsen, where Felipe and his family had lived for several years after their arrival to the city. In our roaming, we walked to the different homes in which he had lived on Eighteenth Place, had coffee at Café
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Project MUSE®https://muse.jhu.edu/2026-05-13T00:00:00-05:00https://muse.jhu.edu/journal/871/image/coversmallBelonging Elsewhere: Felipe Baeza and Laura G. Gutiérrez in Conversation2025-05-27text/htmlen-USBelonging Elsewhere: Felipe Baeza and Laura G. Gutiérrez in Conversation2025-05-272025TWOProject MUSE®666402026-05-13T00:00:00-05:002025-05-27