Journal Panorama
University of Minnesota, University Libraries, Department Member
- Panorama, the journal of the Association of Historians of American Art, is the first peer-reviewed electronic publica... morePanorama, the journal of the Association of Historians of American Art, is the first peer-reviewed electronic publication dedicated to American art and visual culture (broadly defined) from the colonial period to the present day. The journal is intended to provide a high-caliber international forum for disseminating original research and scholarship and for sustaining a lively engagement with intellectual developments and methodological debates in art history, visual and material cultural studies, and curatorial work. It encourages a broad range of perspectives and approaches within an interdisciplinary framework encompassing both local and global contexts. Panorama welcomes submissions that utilize the insights of both traditional and new historical and interpretive approaches to American art.
Panorama is published twice a year; past issues will be archived on the journal website. In addition to peer-reviewed scholarly articles, Panorama publishes Book Reviews, Exhibition Reviews, and shorter Research Notes, and will regularly feature The Bully Pulpit—a section pairing short scholarly and polemical texts with responses from academics, curators, critics, and other interpreters of American art and visual culture.edit
The self-referentiality with which discussions of decolonization are conducted within the Anglosphere reveals a structural inability to think beyond the world view bequeathed to the present by centuries of English-speaking dominion.
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Research Interests: Caricature (Visual Studies), Modern Art, Portraiture, American art/ Art of the United States, American Visual Culture, and 14 moreArt Criticism, Caricature (Art), Self Portraiture, Modern and Contemporary Art, Caricature, Twentieth Century Art, Political Caricature, History of Art Critics, Art Theory and Criticism, Panorama, Francisco Goya, Self Portraits, Art History and Criticism, and Alexander Z. Kruse
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This essay focuses attention on the little-known third edition from 1948 of Helen Gardner’s art history survey text, Art Through the Ages, in which Gardner (1878–1946), a University of Chicago-trained art historian and professor of art... more
This essay focuses attention on the little-known third edition from 1948 of Helen Gardner’s art history survey text, Art Through the Ages, in which Gardner (1878–1946), a University of Chicago-trained art historian and professor of art history at the School of the Art Institute of Chicago, mounted what may have been the first attempt to write a rigorously global history of art. Available online at https://editions.lib.umn.edu/panorama/tag/barbara-jaffee/
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This essay focuses attention on the little-known third edition from 1948 of Helen Gardner’s art history survey text, Art Through the Ages, in which Gardner (1878–1946), a University of Chicago-trained art historian and professor of art... more
This essay focuses attention on the little-known third edition from 1948 of Helen Gardner’s art history survey text, Art Through the Ages, in which Gardner (1878–1946), a University of Chicago-trained art historian and professor of art history at the School of the Art Institute of Chicago, mounted what may have been the first attempt to write a rigorously global history of art. Available online at https://editions.lib.umn.edu/panorama/tag/barbara-jaffee/
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Research Interests: Caricature (Visual Studies), Modern Art, Portraiture, American art/ Art of the United States, American Visual Culture, and 15 moreModernism (Art History), Art Criticism, Caricature (Art), Self Portraiture, Self-Portraits, Modern and Contemporary Art, Caricature, Twentieth Century Art, Political Caricature, History of Art Critics, Art Theory and Criticism, Self-Portraiture, Francisco Goya, Art History and Criticism, and Alexander Z. Kruse
Panorama 2, no. 1 (Summer 2016)
Research Interests: Native American Studies, Nineteenth Century Studies, Nineteenth Century United States, Nineteenth-century Art, American art/ Art of the United States, and International Modernism; Transatlantic Approaches to American, British, and Continental European Literature; the Visual Culture of Modernism; Textual Editing and Literary Manuscripts; Little Magazines; and Translation
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This article describes my encounter with a portrait of Martha Ann Banks, a young African American woman abused by her former enslaver, at the National Museum of African American History and Culture in Washington, DC. In the image that is... more
This article describes my encounter with a portrait of Martha Ann Banks, a young African American woman abused by her former enslaver, at the National Museum of African American History and Culture in Washington, DC. In the image that is on display, Banks is shown seated upon a chair with her dress stripped to her waist as she turns to display her scarred back—a testimony to the brutality of her enslaved past and an echo of the infamous image known as The Scourged Back. From my ongoing engagement with the image of Banks’s injured body, I offer insights into her life and the production of her image. I also explore how Banks’s image was circulated and framed through its use, both as a photograph and as a wood engraving in Harper’s Weekly. By examining the various forms of Banks’s image, this discussion reveals the layers of mediation—both material and human—that that have delimited the historic narration of her abuse. In addition, this article engages with questions about working within an archive of racial subjugation; the political and moral implications of attempting to recover the lives of the enslaved; and the ethics of circulating and studying images of racialized violence.
