The Journal of Art Historiography is a unique journal dedicated specifically to the specialised field of art historiography. It has been successfully edited since its conception by the University of Birmingham’s own Richard Woodfield and was the basis for the university’s recent summer symposium series. Each issue is packed full of articles, translations, reviews and reports of the highest academic standard and this abundant yet critically weighty output is what has made the journal an authority in the area of historiography. Indeed, the Dictionary of Art Historians calls it ‘the major research organ of the field’.
For those who attended the Birmingham art historiography symposium back in 2013 you will be delighted to see two articles by familiar faces in the most recent issue of the Journal: the University of Birmingham’s Daniel Reynolds and collaborator Rebecca Darley reflecting on their role as curators of the recent coin exhibition Faith and Fortune, and Australian academic Catherine De Lorenzo’s article on ‘The hang and art history’.
Darley and Reynolds curated the successful and long running coin exhibition, Faith and Fortune: visualizing the divine on Byzantine and early Islamic coinage at the Barber between November 2013 and January 2015. Their article focuses on how the duo and their team decided to shake up the traditional method of numismatic exhibition display and instead present the coins in a revolutionary manner with the aim of engaging and educating a wider and more diverse audience. As Darley and Reynolds explain, the field of numismatics has long been seen as a rather esoteric and dry area, with exhibitions doing very little to sway audiences from these preconceptions. Exhibitions of numismatics have also, on the whole, focused on the visual and aesthetic qualities of the coins, and have been limited by the typical presentation method of the coins – placed in rows on pH-neutral cloth covered board, separated from their accompanying labels. With the Faith and Fortune exhibition, Darley and Reynolds chose to mount the coins on a large Foamex board integrated around the text which focused largely on the coins economic qualities.
The team’s decision to focus on representing the coins as economic artefacts marked another break in tradition and reminds the viewer that coins were not typically meant to be perceived as art. Their aim, as the article states was to ‘reflect upon the multiple ways in which seeing and interacting with coins gave the objects value in the late antique world and how the coins in turn generated networks of shared expectation, rhetoric and material exchange which defined people’s lives.’ Darley and Reynolds then go on to weigh up the limitations and opportunities that the space at the Barber provided them with, other factors that had to be considered in the lead up to the exhibition, as well as general reflections on the successes and failures of the exhibition as a whole. In particular they highlight the research that has been stimulated by the exhibition, achieving a key aim of theirs to make the exhibition a ‘a forum for research rather than purely dissemination.’ The account provides a fascinating background to the exhibition and those of our readers who managed to see the exhibition will be able to judge for yourselves how successful you believe Darley and Reynolds to be in achieving their goals.
Catherine De Lorenzo’s article ‘The hang and art history’ is, as mentioned earlier, another one which may be familiar with our readers who attended the 2014 conference. De Lorenzo’s paper is one strand of a wider research project analysing exhibitions of Australian art over the last 50 years and focuses in particular on the subject of Aboriginal art, the increase in its recognition and acknowledgement as ‘quintessentially Australian’, and the implications this has on art history. Tony Tuckson’s Australian Aboriginal Art (1960-61) is the key example that De Lorenzo works with and she gives a fascinating and in-depth analysis of the ‘cross-disciplinary and cross-institutional’ curatorial strategies that directed the exhibition. While De Lorenzo touches on the curatorial and art historiographical legacies of Tuckson’s exhibition it would be interesting if she had looked at other exhibitions in the same level of detail, however I suspect that will be forthcoming as part of the goals of the wider research project that she is a part of. De Lorenzo’s article ultimately demonstrates how much the museum sector has changed over the past 50 years in its handling and understanding of Aboriginal art and how it can be further shaped in the future to continue to educate both scholars and the public on Aboriginal art and its essential place within the canon of Australian art history.
Further Birmingham art historians Matthew Rampley and Nóra Veszprémi are to be found in the reviews section. Rampley considers Vlad Toca’s Art Historical Discourse in Romania, 1919-1947 and suggests that the work does not constitute a particularly deep critical analysis but praises it for providing ‘a useful start to the discussion of an understudied subject.’ While Veszprémi provides a response to Rebecca Houze’s Textiles, Fashion and Design Reform in Austria-Hungary before the First World War: Principles of Dress, which is incredibly detailed and thorough, giving real insight into the many highlights of Houze’s text.
Another article which may hold particular interest for our readers is Claire Farago’s review of The Lives of Leonardo, a subject of great discussion among the writers and readers of our blog. Farago looks in depth at Thomas Frangenberg and Rodney Palmer’s collection of articles taken from a symposium in 2006 on the subject of Leonardo Da Vinci’s biography. Farago highlights the central theme of the book as considering the legacy of Vasari’s Lives and her fascinating review of the book makes it one to perhaps recommend to our undergraduates in the future as they tackle Vasari in their first year. While generally praising of the book on the whole, Farago is withering in her disdain of the lack of female contributors to the volume, a reminder to us all that there is still a great deal of work to be done in balancing out the field. Indeed our first years have recently been tackling the problems that arise when men are solely responsible for our understanding of artists biographies.
I have barely touched the surface of the multitude of articles contained in December’s issue of the Journal of Art Historiography, so richly packed as it is with such an abundant range of pieces. However, I hope I have done enough to whet the appetite and encourage our readers to take a closer look at further articles in the journal. Anyone who would like to review one or two in greater detail is encouraged to get in touch.
To read the December issue and the 12 past issues the website is: