Fall 2022 (8.2)

Issue 8.2
Editors' Welcome

Issue 8.2

Naomi Slipp, Jacqueline Francis, Keri Watson, Katherine Jentleson
Interior view of an auditorium with an arched natural wood ceiling. On a screen in front is Panorama's logo.
News

Art and Narrative: The 2022 AHAA Seventh Biennial Symposium

Lauren Caskey
Call for Submissions: Research Notes
News

Call for Submissions: Research Notes

Black-and-white historic photograph of building with large, arched windows
Feature Article

From Center to Periphery: The Lifespan of New York City’s Tenth Street Studio Building and the Canon of American Art

Mary Okin with Celie Mitchard
The bronze statue of Christopher Columbus that is at the top of the monument seen in fig. 3. The figure wears a Renaissance-era cap and cloak and carries a rolled chart in his left hand. His right hand is outstretched and his right foot steps forward off the pedestal.
Feature Article

Naming, Blaming, and Claiming: The Columbus Monument and the Struggle for Diversity Rights in Syracuse, New York

Kristina Borrman
Close-up of a brick wall with the word "MEXICO" stamped upside down into some of the bricks
Feature Article

More Than a Museum: The Chinati Foundation, Home of the Brave

Max Tolleson
About Time: Temporality in American Art and Visual Culture
In the Round

About Time: Temporality in American Art and Visual Culture

Hélène Valance, Tatsiana Zhurauliova
Pendant Across Time: John Singleton Copley and John Singer Sargent
In the Round

Pendant Across Time: John Singleton Copley and John Singer Sargent

Caroline Culp
Indigenous Temporal Enmeshment in <em>Akwesasne Notes</em>
In the Round

Indigenous Temporal Enmeshment in Akwesasne Notes

Margaret J. Schmitz
Waiting for Mlle Bourgeoise Noire and the Power of Interruption
In the Round

Waiting for Mlle Bourgeoise Noire and the Power of Interruption

José B. Segebre Salazar
Ecstatic Time
In the Round

Ecstatic Time

Andrew Witt
Interview with the Artist Fabiola Jean-Louis
In the Round

Interview with the Artist Fabiola Jean-Louis

Fabiola Jean-Louis, Hélène Valance, Tatsiana Zhurauliova
Asserting Agency: Meta Vaux Warrick Fuller’s Scrapbook
Research Note

Asserting Agency: Meta Vaux Warrick Fuller’s Scrapbook

Erika Schneider
“American” Photographs Abroad: Traveling with Lewis Hine
Research Note

“American” Photographs Abroad: Traveling with Lewis Hine

Natalie Zelt
Turning a Corner: Reexamining Joe Jones’s Anthony, Kansas, Mural through Pandemic Eyes
Research Note

Turning a Corner: Reexamining Joe Jones’s Anthony, Kansas, Mural through Pandemic Eyes

Michaela Rife
Black-and-white historic photo of women in dark dresses marching in front of a gate, holding signs that read, in part, "MR. PRESIDENT HOW LONG MUST WOMEN WAIT FOR LIBERTY?"
Colloquium

Art and Reproductive Rights in the Wake of Dobbs v. Jackson

Keri Watson, Katherine Jentleson
Mr. President, How Long Must We Wait for Liberty? The Female Body and Society
Colloquium

Mr. President, How Long Must We Wait for Liberty? The Female Body and Society

Patricia Cronin
The Cultural Invisibility of Reproductive Health
Colloquium

The Cultural Invisibility of Reproductive Health

Kristin Taylor, Karen Irvine
Note to Self: An Artist’s Reflections on Black Girlhood
Colloquium

Note to Self: An Artist’s Reflections on Black Girlhood

Kéla B. Jackson
Beyond the Line: Bessie Harvey’s Visual Commentary on the Persistence of the Black Maternity Crisis in the United States
Colloquium

Beyond the Line: Bessie Harvey’s Visual Commentary on the Persistence of the Black Maternity Crisis in the United States

Frederica Simmons
A selection of reproductive rights buttons, featuring the slogans "KEEP ABORTION SAFE AND LEGAL," "ABORTION: A PERSONAL DECISION," Abortion: a woman's right to choose," "ILLEGAL ABORTION: Never Again!" and "A woman's right to control her life: REPEAL ALL ABORTION LAWS," along with two buttons featuring a coat hanger with a diagonal red slash across it.
Colloquium

Essential Labor

Michelle Millar Fisher
Panorama’s 🆕 Section: Digital Dialogues
Digital Dialogues

Panorama’s 🆕 Section: Digital Dialogues

Tracy Stuber, Jennifer Way
Telling Imperfect Histories with the Digital
Digital Dialogues

Telling Imperfect Histories with the Digital

Jennifer Van Horn
Maryland Institute Black Archives: A Post-Custodial Project
Digital Dialogues

Maryland Institute Black Archives: A Post-Custodial Project

Ellen Y. Tani
Muybridge and Mobility
Book Review

Muybridge and Mobility

Reviewed by David Wall
Elevate the Masses: Alexander Gardner, Photography, and Democracy in Nineteenth-Century America
Book Review

Elevate the Masses: Alexander Gardner, Photography, and Democracy in Nineteenth-Century America

Reviewed by Shalon Parker
“The Spanish Element in Our Nationality”: Spain and America at the World’s Fairs and Centennial Celebrations, 1876–1915
Book Review

“The Spanish Element in Our Nationality”: Spain and America at the World’s Fairs and Centennial Celebrations, 1876–1915

Reviewed by Vanesa Rodríguez-Galindo
Painful Beauty: Tlingit Women, Beadwork, and the Art of Resilience
Book Review

Painful Beauty: Tlingit Women, Beadwork, and the Art of Resilience

Reviewed by Alison Ariss
The Art of the Anthropological Diorama: Franz Boas, Arthur C. Parker, and Constructing Authenticity
Book Review

The Art of the Anthropological Diorama: Franz Boas, Arthur C. Parker, and Constructing Authenticity

Reviewed by Dore Bowen
Alloys: American Sculpture and Architecture at Midcentury
Book Review

Alloys: American Sculpture and Architecture at Midcentury

Reviewed by Sydney Skelton Simon
Sargent, Whistler & Venetian Glass: American Artists and the Magic of Murano
Exhibition Review

Sargent, Whistler & Venetian Glass: American Artists and the Magic of Murano

Reviewed by Emily C. Burns
Wayne Thiebaud: A Celebration, 1920–2021 <em>and</em> Wayne Thiebaud 100: Paintings, Prints, and Drawing
Exhibition Review

Wayne Thiebaud: A Celebration, 1920–2021 and Wayne Thiebaud 100: Paintings, Prints, and Drawing

Reviewed by Elaine O’Brien
Cathy Lu: Interior Garden
Exhibition Review

Cathy Lu: Interior Garden

Reviewed by Sara Morris
Marta Pérez García: Restos-Traces
Exhibition Review

Marta Pérez García: Restos-Traces

Reviewed by Mark L. Hanin