Fall 2020 (6.2) Archives - Panorama

Special Anniversary Issue

A panel of six speakers addresses an audience at the Association of Historians of American Art's Fifth Biennial Symposium in St. Paul-Minneapolis.

Five Years of Panorama—Forty Years of AHAA

Screenshot of the Panorama Journal's Summer 2014, Volume 1 Issue 2 webpage, displaying article titles and a prominent illustration of a city scene with classical architecture and a church spire

Editors’ Reflections on the First Five Years of Panorama

Sarah Burns, Jennifer Jane Marshall, M. Elizabeth Boone, Lauren Lessing, Austen Barron Bailly, Jacqueline Francis, Jessica Skwire Routhier, Naomi Slipp

Programs from the Association of Historians of American Art (AHAA) symposia from 2010 and 2012 are displayed.

Who Will We Be? The Association of Historians of American Art on its Fortieth Anniversary

Jeffrey Richmond-Moll, Louise Siddons, David M. Sokol, Wanda M. Corn, Teresa A. Carbone, Peter John Brownlee, Ellery Foutch, Gwendolyn DuBois Shaw, Alicia Harris

In the Round

A black and white photograph shows the exterior of a building densely covered with signs advertising "PHOTOS," "AUTO LICENSE APPLICATIONS," "DRIVING SCHOOL," and "NOTARY PUBLIC."

Re-Reading American Photographs

Monica Bravo, Emily Voelker

José María Mora's sepia portrait depicts a woman portraying Ophelia, lying as if floating in water with flowers in her hair.

José María Mora and the Migrant Surround in American Portrait Photography

Erin Pauwels

A black and white photograph by Susan Meiselas depicts a border patrol agent holding an undocumented migrant by his shirt in a field.

Undocumented Migration and Political Community in Susan Meiselas’s Crossings Photographs

Sarah Bassnett

A sepia-toned photomontage depicts Soviet industrialization and agricultural labor, featuring two large faces of workers above scenes of cranes, a train, and a horse-drawn cart.

A “Russianesque Camera Artist”: Margaret Bourke-White’s American-Soviet Photography

Josie Johnson

Siŋté Máza (Iron Tail) and another Lakȟóta man are seated with a non-Indigenous man and sculptures on a table.

Siŋté Máza (Iron Tail)’s Photographic Opportunities: The Transit of Lakȟóta Performance and Arts

Emily C. Burns

A historical photograph of a Crow visionary medicine man from 1885, annotated with explanations of his regalia and spiritual visions.

Apsáalooke Bacheeítuuk in Washington, DC: A Case Study in Re-Reading Nineteenth-Century Delegation Photography

Wendy Red Star, Shannon Vittoria

Ansel Adams's black and white photograph captures a dramatic landscape of rolling volcanic cones and hills partially shrouded in mist and deep shadows.

Reading and Re-Reading Ansel Adams’s My Camera in the National Parks

Lauren Johnson

Research Notes

Portrait of Edward Hill, a prominent figure in colonial Virginia.

The Story of Edward Hill and the African Groom at Shirley Plantation

Janine Yorimoto Boldt

Close-up of a traditional Creek woven textile featuring alternating bands of blue, brown, and rust, adorned with white beaded diamond patterns.

Traversing Two Cultures: A Portrait of William McIntosh, Southern Slave Owner and Lower Creek Chief

Naomi Slipp

A newspaper article from July 3, 1866, titled "A CRUEL PUNISHMENT," describes the branding of a 13-year-old Black girl with a hot iron

“The Time Has Now Gone by When Things of This Nature Are to Be Hidden from the Public”: Mediating Bodily and Archival Violence

Anne Strachan Cross

American painter Andrew Wyeth gestures animatedly next to a poster for his exhibition in Taiwan, which displays his name in Chinese and English.

Wyeth in Taiwan

ShiPu Wang

Colloquium

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

Self-Criticality

Anne Monahan, Isabel Taube

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

Museums, Academy and Call-out Culture: A Defense

Nizan Shaked

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

It’s Time to Share

Eddie Chambers

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

Decolonizing Decolonization

Rafael Cardoso

Artist Ruth Asawa sits in her studio, surrounded by her intricate wire sculptures and art materials.

Refusing the Call for Recognition

Susette Min

A painting depicts a group of people, including adults and children, observing an African lion in a cage at a zoo.

Animals, Anthropocentrism, and Antiracism in American Art

Annie Ronan

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

Out of Time, Out of Mind

Ann Reynolds

Book Reviews

The cover for 'Becoming Mary Sully: Toward an American Indian Abstract' by Philip J. Deloria, featuring an abstract pattern of red, cream, and black organic shapes.

Becoming Mary Sully: Toward an American Indian Abstract

Manon Gaudet

Cover art for 'Lincoln Kirstein's Modern' features a black and white photomontage of a human figure superimposed with a forest, reaching towards a geometric drafting tool."

Lincoln Kirstein’s Modern

Clara Barnhart

Three bronze busts from Malvina Hoffman's "Races of Mankind" series, representing Native American, African, and East Asian individuals.

Race Experts: Sculpture, Anthropology, and the American Public in Malvina Hoffman’s Races of Mankind

Renée Ater

A vibrant, graphic artwork depicts Black men, women, and children in various poses, set against a background of bold Pan-African colors and the text "BE FREE, KNOW THE PAST, AND PREPARE FOR THE FUTURE."

Art for People’s Sake: Artists and Community in Black Chicago, 1965–1975

Abbe Schriber

Cover for the book *Stick to the Skin: African American and Black British Art, 1965–2015* by Celeste-Marie Bernier, featuring a painting of a

Stick to the Skin: African American and Black British Art, 1965–2015

Ellen Tani

Exhibition Reviews

A textured bronze sculpture of a reclining female nude with arms behind her head is displayed in a gallery, with a vibrant textile artwork featuring a similar reclining silhouette visible behind it.

Riffs and Relations: African American Artists and the European Modernist Tradition

Anna O. Marley

A visitor observes a vibrant painting depicting stylized figures in a rural scene, displayed on a pink wall in the "Vida Americana: Mexican Muralists Remake American Art" exhibition.

Vida Americana: Mexican Muralists Remake American Art, 1925–1945

James Oles

A museum exhibition space with teal walls displaying black and white photographs, and a large sign for "The Levee: A Photographer in the American South" featuring a bird on a branch.

The Levee: A Photographer in the American South

Theresa Leininger-Miller

A rustic, reed-covered observation blind by Mark Dion stands on a grassy bank overlooking a pond, with trees and hills under a blue, cloudy sky.

Follies: Architectural Whimsy in the Garden and Mark Dion: Follies

Kerry Dean Carso

Talk Back

The word 'PANORAMA' in bold white capital letters on a black background, with 'PANO' on the first line and 'RAMA' on the second.

Talk Back: Be a Generalist!

Jenni Sorkin