Books by Emily C Burns
New York: Routledge, 2021
This book offers microhistories related to the transnational circulations of impressionism in the... more This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries.
The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term.
This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.
For a link to purchase either e-book or hardcover, see:
https://www.routledge.com/Mapping-Impressionist-Painting-in-Transnational-Contexts/Burns-Price/p/book/9780367490522
Here's a link to the introduction on google books:
https://books.google.ca/books?hl=en&lr=&id=BNUiEAAAQBAJ&oi=fnd&pg=PT12&ots=-Ci9rv-Spg&sig=hsXC5Xu7vLtxz1UDkv7YH_e-_U8#v=onepage&q&f=false
Norman: University of Oklahoma Press, 2018
This book analyzes the visual culture of the American West in the French imagination between the ... more This book analyzes the visual culture of the American West in the French imagination between the Exposition Universelle of 1867 and the start of World War I. This book interprets the intertwined relationships between art and popular culture, transnational exchange, indigenous agency, and cultural nationalism raised by depictions of the American West in a French context.
Summary:
When Buffalo Bill’s Wild West show traveled to Paris in 1889, the New York Times reported that the exhibition would be “managed to suit French ideas.” But where had those “French ideas” of the American West come from? And how had they, in turn, shaped the notions of “cowboys and Indians” that captivated the French imagination during the Gilded Age? In Transnational Frontiers, Emily C. Burns maps the complex fin-de-siècle cultural exchanges that revealed, defined, and altered images of the American West.
This lavishly illustrated visual history shows how American artists, writers, and tourists traveling to France exported the dominant frontier narrative that presupposed manifest destiny—and how Native American performers with Buffalo Bill’s Wild West and other traveling groups challenged that view. Many French artists and illustrators plied this imagery as well. At the 1900 World’s Fair in Paris, sculptures of American cowboys conjured a dynamic and adventurous West, while portraits of American Indians on vases evoked an indigenous people frozen in primitivity. At the same time, representations of Lakota performers, as well as the performers themselves, deftly negotiated the politics of American Indian assimilation and sought alternative spaces abroad.
For French artists and enthusiasts, the West served as a fulcrum for the construction of an American cultural identity, offering a chance to debate ideas of primitivism and masculinity that bolstered their own colonialist discourses. By examining this process, Burns reveals the interconnections between American western art and Franco-American artistic exchange between 1865 and 1915.
Foreign Artists and Communities in Modern Paris, 1870-1914 examines Paris as a center of internat... more Foreign Artists and Communities in Modern Paris, 1870-1914 examines Paris as a center of international culture that attracted artists from Western and Eastern Europe, Asia and the Americas during a period of burgeoning global immigration. Sixteen essays by a group of emerging and established international scholars - including several whose work has not been previously published in English - address the experiences of foreign exiles, immigrants, students and expatriates. They explore the formal and informal structures that permitted foreign artists to forge connections within and across national communities and in some cases fashion new, transnational identities in the City of Light. Considering Paris from an innovative global perspective, the book situates both important modern artists - such as Edvard Munch, Sonia Delaunay-Terk, Marc Chagall and Gino Severini - and lesser-known American, Czech, Italian, Polish, Welsh, Russian, Japanese, Catalan, and Hungarian painters, sculptors, writers, dancers, and illustrators within the larger trends of international mobility and cultural exchange. Broadly appealing to historians of modern art and history, the essays in this volume characterize Paris as a thriving transnational arts community in which the interactions between diverse cultures, peoples and traditions contributed to the development of a hybrid and multivalent modern art.
Contributors include Juliet Bellow (Associate Professor of Modern European Art History, American University), Ewa Bobrowska (Associate Program Officer of Research at the Terra Foundation for American Art, Europe), Norma Broude (Professor Emerita of Art History, American University), Emily Burns (Assistant Professor of Art History, Auburn University), Paul Fisher (Associate Professor of American Studies, Wellesley College), Sharon Hecker (independent scholar), Zoë Marie Jones (Instructor, University of Alaska, Fairbanks), Cindy Kang (doctoral candidate at the Institute of Fine Arts, New York University), Laura Karp Lugo (University of Tours, France), Donald McCallum (1939–2013; former Professor of Art History at UCLA), Thomas Rimer (Professor Emeritus of East Asian Languages and Literature, University of Pittsburgh), Nicholas Sawicki (Assistant Professor of Art History, Lehigh University), Richard Sonn (Professor of History, University of Arkansas), and Maite van Dyck (Curator of Paintings, Van Gogh Museum, Amsterdam).
Contents:
Introduction: Strangers in paradise: foreign artists and
communities in modern Paris, 1870-1914, Susan Waller and Karen L. Carter.
Part I Institutions and Networks: The Italian expatriates: De Nittis and Zandomeneghi, Norma Broude
International artists at the Salon des Indépendants in Paris: the case of Edvard Munch (1896 and 1897), Maite van Dijk
‘Earning a living’ in the International Graphic Arts: the Académie
Julian and the teaching of poster design and illustration, 1890-1914, Karen L. Carter
Between Montparnasse and Prague: circulating cubism
in Left Bank Paris, Nicholas Sawicki
Part II Expatriate Communities:
Polish artists in Paris, 1890-1914: between international modernity and national identity, Ewa Bobrowska
Revising Bohemia: the American artist
colony in Paris, 1890-1914, Emily C. Burns
Catalan artists in Paris at the turn of the century, Laura Karp Lugo
Jewish Modernism: immigrant artists of Montparnasse, 1905-1914, Richard D. Sonn
Part III Incomers and Outsiders:
Everywhere and nowhere: Medardo Rosso and the
cultural cosmopolitan in fin-de-siècle Paris, Sharon Hecker
The Sacre ‘au printemps’: Parisian audiences and the Ballets Russes, Juliet Bellow
Gwen John: posing and painting in Paris, 1905-1914, Susan Waller
A path beyond Paris: the evolving art of Sakamoto Hanjirō, J. Thomas Rimer
Part IV Cosmopolitans and Hybridities:
The lost ambassador: Henrietta Reubell and transnational queer spaces in the Paris arts world, 1876-1903, Paul
Fisher
József Rippl-Rónai’s embroideries: crafting Hungarian Modernism in Paris, Cindy Kang
Japanese painters in Paris, 1880-1912, Donald F.
McCallum
Gino Severini’s Bohemian Paris: integrating the Italian artist,
1906-1914, Zoë Marie Jones
Selected bibliography; Index. 288 pages. 978-1-4724-4354-0
Articles by Emily C Burns
Modern Sculpture and the Question of Status, ed. Cristina Rodriguez-Samaniego and Irene Gras Valero, Barcelona: Colleccio Singularitats, 2018
Near East to Far West: Fictions of French and American Colonialism, ed. Jennifer R. Henneman, New Haven: Yale University Press, 2023
Rosa Bonheur, 1822-2022, by Sandra Buratti-Hasan and Leila Jarbouai, Paris: Flammarion, 2022
Nka Journal of Contemporary African Art, 2022
Disrupting Schools: Transnational Art Education in the Nineteenth Century, eds. France Nerlich and Eleonora Vratskidou. Turnhout: Brepols, 2022
Mapping Impressionist Painting in Transnational Contexts, ed. Emily C. Burns and Alice M. Rudy Price, New York: Routledge, 2021
Mapping Impressionist Painting in Transnational Contexts, ed. Emily C. Burns and Alice M. Rudy Price, New York: Routledge, 2021
Quand l’Amérique decouvrait Gustave Courbet et l’Impressionisme, ed. Frédérique Thomas-Maurin, Ornans: Musée Gustave Courbet., 2021
An introduction in France to the complex and layered groups of artists who fall under the term "A... more An introduction in France to the complex and layered groups of artists who fall under the term "American Impressionism."
Ellen Emmet Rand: Gender, Art, and Business, ed. Alexis L. Boylan. London: Bloomsbury, 2020
in Globalizing Impressionism: Reception, Translation, Transnationalism, ed. Alexis Clark and Frances Fowle. New Haven: Yale University Press, 2020
in America’s Impressionism: Echoes of a Revolution, by Amanda C. Burdan, 51–63. New Haven: Yale University Press, 2020
In Artistic Migration and Identity in Paris, 1870-1940 / Migration artistique et identité à Paris, 1870-1940, edited by Steven Huebner and Federico Lazzaro. New York: Peter Lang Publishing, 2020
Arts, 2019
This essay offers object biographies of two examples of Lakȟóta beaded regalia that traveled with... more This essay offers object biographies of two examples of Lakȟóta beaded regalia that traveled with Wild West performers to France in 1889 and in 1911, respectively, as exemplars of Gerald Vizenor's concept of survivance. By examining the production of the objects by women artists within the Lakȟóta community and visually analyzing their designs, this article highlights the regalia as an opposition to both settler colonial political suppression and enforced attempts of cultural assimilation. The article stresses that the beadwork's materiality bears traces of its intended circulation and public display that are enacted when Lakȟóta individuals wore the regalia in the context of Wild West performance in France. Both when rooted in the Lakȟóta community and when circulating through Wild West shows, the objects evince Lakȟóta survivance. When the regalia was acquired by non-Native individuals in France, who projected new meanings onto the objects, the function of the regalia as a public statement of Lakȟóta survivance subtly continued to operate through generated revenue for the community and through the visibility of Lakȟóta culture through continued circulation.
This article is published in a special issue edited by Sascha Scott and Amy Lonetree on "Native Survivance and Visual Sovereignty: Indigenous Visual and Material Culture in the 19th and 20th Centuries"
Transatlantica, 2017
Check out this special issue of Transatlantica, with essays on the American West in France, edite... more Check out this special issue of Transatlantica, with essays on the American West in France, edited by Emily C. Burns and Agathe Cabau:
issue 2 of 2017, published in 2019
Luca Di Gregorio
Les Fils de Bas-de-Cuir. Sauvagisme, franc trappeur et « lutte des traces » dans le roman d’aventures français (1850-1880)
Jane M. Roos
Courbet, Catlin, and the Exploitation of Native Americans
François Brunet et Jessica Talley
Exhibiting the West at the Paris Exposition of 1867: Towards a New American Aesthetic Identity?
Emily L. Voelker
Unfixing the Frame: Visualizing Histories of Transcultural Contact, Exchange & Performance in Prince Roland Bonaparte’s Peaux-Rouges (1884)
Nancy Mowll Mathews
Gauguin, Buffalo Bill, and the Cowboy Hat
Daryl Lee
Robida’s Mormons
James R. Swensen
The Frontier in Paris: Artists from the American West in the French Capital, 1890–1900
Jessica L. Horton
Performing Paint, Claiming Space: The Santa Fe Indian School Posters on Paul Coze’s Stage in Paris, 1935
In Empty Spaces: perspectives on emptiness in modern history, edited by Courtney J. Campbell, Allegra Giovine, and Jennifer Keating, 111–132. London: University of London Press., 2019
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Books by Emily C Burns
The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term.
This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.
For a link to purchase either e-book or hardcover, see:
https://www.routledge.com/Mapping-Impressionist-Painting-in-Transnational-Contexts/Burns-Price/p/book/9780367490522
Here's a link to the introduction on google books:
https://books.google.ca/books?hl=en&lr=&id=BNUiEAAAQBAJ&oi=fnd&pg=PT12&ots=-Ci9rv-Spg&sig=hsXC5Xu7vLtxz1UDkv7YH_e-_U8#v=onepage&q&f=false
Summary:
When Buffalo Bill’s Wild West show traveled to Paris in 1889, the New York Times reported that the exhibition would be “managed to suit French ideas.” But where had those “French ideas” of the American West come from? And how had they, in turn, shaped the notions of “cowboys and Indians” that captivated the French imagination during the Gilded Age? In Transnational Frontiers, Emily C. Burns maps the complex fin-de-siècle cultural exchanges that revealed, defined, and altered images of the American West.
This lavishly illustrated visual history shows how American artists, writers, and tourists traveling to France exported the dominant frontier narrative that presupposed manifest destiny—and how Native American performers with Buffalo Bill’s Wild West and other traveling groups challenged that view. Many French artists and illustrators plied this imagery as well. At the 1900 World’s Fair in Paris, sculptures of American cowboys conjured a dynamic and adventurous West, while portraits of American Indians on vases evoked an indigenous people frozen in primitivity. At the same time, representations of Lakota performers, as well as the performers themselves, deftly negotiated the politics of American Indian assimilation and sought alternative spaces abroad.
For French artists and enthusiasts, the West served as a fulcrum for the construction of an American cultural identity, offering a chance to debate ideas of primitivism and masculinity that bolstered their own colonialist discourses. By examining this process, Burns reveals the interconnections between American western art and Franco-American artistic exchange between 1865 and 1915.
Contributors include Juliet Bellow (Associate Professor of Modern European Art History, American University), Ewa Bobrowska (Associate Program Officer of Research at the Terra Foundation for American Art, Europe), Norma Broude (Professor Emerita of Art History, American University), Emily Burns (Assistant Professor of Art History, Auburn University), Paul Fisher (Associate Professor of American Studies, Wellesley College), Sharon Hecker (independent scholar), Zoë Marie Jones (Instructor, University of Alaska, Fairbanks), Cindy Kang (doctoral candidate at the Institute of Fine Arts, New York University), Laura Karp Lugo (University of Tours, France), Donald McCallum (1939–2013; former Professor of Art History at UCLA), Thomas Rimer (Professor Emeritus of East Asian Languages and Literature, University of Pittsburgh), Nicholas Sawicki (Assistant Professor of Art History, Lehigh University), Richard Sonn (Professor of History, University of Arkansas), and Maite van Dyck (Curator of Paintings, Van Gogh Museum, Amsterdam).
Contents:
Introduction: Strangers in paradise: foreign artists and
communities in modern Paris, 1870-1914, Susan Waller and Karen L. Carter.
Part I Institutions and Networks: The Italian expatriates: De Nittis and Zandomeneghi, Norma Broude
International artists at the Salon des Indépendants in Paris: the case of Edvard Munch (1896 and 1897), Maite van Dijk
‘Earning a living’ in the International Graphic Arts: the Académie
Julian and the teaching of poster design and illustration, 1890-1914, Karen L. Carter
Between Montparnasse and Prague: circulating cubism
in Left Bank Paris, Nicholas Sawicki
Part II Expatriate Communities:
Polish artists in Paris, 1890-1914: between international modernity and national identity, Ewa Bobrowska
Revising Bohemia: the American artist
colony in Paris, 1890-1914, Emily C. Burns
Catalan artists in Paris at the turn of the century, Laura Karp Lugo
Jewish Modernism: immigrant artists of Montparnasse, 1905-1914, Richard D. Sonn
Part III Incomers and Outsiders:
Everywhere and nowhere: Medardo Rosso and the
cultural cosmopolitan in fin-de-siècle Paris, Sharon Hecker
The Sacre ‘au printemps’: Parisian audiences and the Ballets Russes, Juliet Bellow
Gwen John: posing and painting in Paris, 1905-1914, Susan Waller
A path beyond Paris: the evolving art of Sakamoto Hanjirō, J. Thomas Rimer
Part IV Cosmopolitans and Hybridities:
The lost ambassador: Henrietta Reubell and transnational queer spaces in the Paris arts world, 1876-1903, Paul
Fisher
József Rippl-Rónai’s embroideries: crafting Hungarian Modernism in Paris, Cindy Kang
Japanese painters in Paris, 1880-1912, Donald F.
McCallum
Gino Severini’s Bohemian Paris: integrating the Italian artist,
1906-1914, Zoë Marie Jones
Selected bibliography; Index. 288 pages. 978-1-4724-4354-0
Articles by Emily C Burns
This article is published in a special issue edited by Sascha Scott and Amy Lonetree on "Native Survivance and Visual Sovereignty: Indigenous Visual and Material Culture in the 19th and 20th Centuries"
issue 2 of 2017, published in 2019
Luca Di Gregorio
Les Fils de Bas-de-Cuir. Sauvagisme, franc trappeur et « lutte des traces » dans le roman d’aventures français (1850-1880)
Jane M. Roos
Courbet, Catlin, and the Exploitation of Native Americans
François Brunet et Jessica Talley
Exhibiting the West at the Paris Exposition of 1867: Towards a New American Aesthetic Identity?
Emily L. Voelker
Unfixing the Frame: Visualizing Histories of Transcultural Contact, Exchange & Performance in Prince Roland Bonaparte’s Peaux-Rouges (1884)
Nancy Mowll Mathews
Gauguin, Buffalo Bill, and the Cowboy Hat
Daryl Lee
Robida’s Mormons
James R. Swensen
The Frontier in Paris: Artists from the American West in the French Capital, 1890–1900
Jessica L. Horton
Performing Paint, Claiming Space: The Santa Fe Indian School Posters on Paul Coze’s Stage in Paris, 1935
The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies’ concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term.
This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.
For a link to purchase either e-book or hardcover, see:
https://www.routledge.com/Mapping-Impressionist-Painting-in-Transnational-Contexts/Burns-Price/p/book/9780367490522
Here's a link to the introduction on google books:
https://books.google.ca/books?hl=en&lr=&id=BNUiEAAAQBAJ&oi=fnd&pg=PT12&ots=-Ci9rv-Spg&sig=hsXC5Xu7vLtxz1UDkv7YH_e-_U8#v=onepage&q&f=false
Summary:
When Buffalo Bill’s Wild West show traveled to Paris in 1889, the New York Times reported that the exhibition would be “managed to suit French ideas.” But where had those “French ideas” of the American West come from? And how had they, in turn, shaped the notions of “cowboys and Indians” that captivated the French imagination during the Gilded Age? In Transnational Frontiers, Emily C. Burns maps the complex fin-de-siècle cultural exchanges that revealed, defined, and altered images of the American West.
This lavishly illustrated visual history shows how American artists, writers, and tourists traveling to France exported the dominant frontier narrative that presupposed manifest destiny—and how Native American performers with Buffalo Bill’s Wild West and other traveling groups challenged that view. Many French artists and illustrators plied this imagery as well. At the 1900 World’s Fair in Paris, sculptures of American cowboys conjured a dynamic and adventurous West, while portraits of American Indians on vases evoked an indigenous people frozen in primitivity. At the same time, representations of Lakota performers, as well as the performers themselves, deftly negotiated the politics of American Indian assimilation and sought alternative spaces abroad.
For French artists and enthusiasts, the West served as a fulcrum for the construction of an American cultural identity, offering a chance to debate ideas of primitivism and masculinity that bolstered their own colonialist discourses. By examining this process, Burns reveals the interconnections between American western art and Franco-American artistic exchange between 1865 and 1915.
Contributors include Juliet Bellow (Associate Professor of Modern European Art History, American University), Ewa Bobrowska (Associate Program Officer of Research at the Terra Foundation for American Art, Europe), Norma Broude (Professor Emerita of Art History, American University), Emily Burns (Assistant Professor of Art History, Auburn University), Paul Fisher (Associate Professor of American Studies, Wellesley College), Sharon Hecker (independent scholar), Zoë Marie Jones (Instructor, University of Alaska, Fairbanks), Cindy Kang (doctoral candidate at the Institute of Fine Arts, New York University), Laura Karp Lugo (University of Tours, France), Donald McCallum (1939–2013; former Professor of Art History at UCLA), Thomas Rimer (Professor Emeritus of East Asian Languages and Literature, University of Pittsburgh), Nicholas Sawicki (Assistant Professor of Art History, Lehigh University), Richard Sonn (Professor of History, University of Arkansas), and Maite van Dyck (Curator of Paintings, Van Gogh Museum, Amsterdam).
Contents:
Introduction: Strangers in paradise: foreign artists and
communities in modern Paris, 1870-1914, Susan Waller and Karen L. Carter.
Part I Institutions and Networks: The Italian expatriates: De Nittis and Zandomeneghi, Norma Broude
International artists at the Salon des Indépendants in Paris: the case of Edvard Munch (1896 and 1897), Maite van Dijk
‘Earning a living’ in the International Graphic Arts: the Académie
Julian and the teaching of poster design and illustration, 1890-1914, Karen L. Carter
Between Montparnasse and Prague: circulating cubism
in Left Bank Paris, Nicholas Sawicki
Part II Expatriate Communities:
Polish artists in Paris, 1890-1914: between international modernity and national identity, Ewa Bobrowska
Revising Bohemia: the American artist
colony in Paris, 1890-1914, Emily C. Burns
Catalan artists in Paris at the turn of the century, Laura Karp Lugo
Jewish Modernism: immigrant artists of Montparnasse, 1905-1914, Richard D. Sonn
Part III Incomers and Outsiders:
Everywhere and nowhere: Medardo Rosso and the
cultural cosmopolitan in fin-de-siècle Paris, Sharon Hecker
The Sacre ‘au printemps’: Parisian audiences and the Ballets Russes, Juliet Bellow
Gwen John: posing and painting in Paris, 1905-1914, Susan Waller
A path beyond Paris: the evolving art of Sakamoto Hanjirō, J. Thomas Rimer
Part IV Cosmopolitans and Hybridities:
The lost ambassador: Henrietta Reubell and transnational queer spaces in the Paris arts world, 1876-1903, Paul
Fisher
József Rippl-Rónai’s embroideries: crafting Hungarian Modernism in Paris, Cindy Kang
Japanese painters in Paris, 1880-1912, Donald F.
McCallum
Gino Severini’s Bohemian Paris: integrating the Italian artist,
1906-1914, Zoë Marie Jones
Selected bibliography; Index. 288 pages. 978-1-4724-4354-0
This article is published in a special issue edited by Sascha Scott and Amy Lonetree on "Native Survivance and Visual Sovereignty: Indigenous Visual and Material Culture in the 19th and 20th Centuries"
issue 2 of 2017, published in 2019
Luca Di Gregorio
Les Fils de Bas-de-Cuir. Sauvagisme, franc trappeur et « lutte des traces » dans le roman d’aventures français (1850-1880)
Jane M. Roos
Courbet, Catlin, and the Exploitation of Native Americans
François Brunet et Jessica Talley
Exhibiting the West at the Paris Exposition of 1867: Towards a New American Aesthetic Identity?
Emily L. Voelker
Unfixing the Frame: Visualizing Histories of Transcultural Contact, Exchange & Performance in Prince Roland Bonaparte’s Peaux-Rouges (1884)
Nancy Mowll Mathews
Gauguin, Buffalo Bill, and the Cowboy Hat
Daryl Lee
Robida’s Mormons
James R. Swensen
The Frontier in Paris: Artists from the American West in the French Capital, 1890–1900
Jessica L. Horton
Performing Paint, Claiming Space: The Santa Fe Indian School Posters on Paul Coze’s Stage in Paris, 1935
In some cases, artists trying to shape their own reception or capitalize on perceptions of their national or cultural identity have reinforced the idea of belatedness in their art practice and rhetoric. At the same time, coloniality has exported such a narrative to exoticize, limit the circulation or to control the aesthetics of artists in the context of often violent asymmetrical relationships. Canonical narratives of modernism have also furthered belatedness by using the concept to draw the boundaries between inclusion and exclusion.
Key questions include: Is belatedness necessarily pejorative? Can it be operating simultaneously as control and as transculturation in the same context? Is it necessarily comparative? How does it relate to antimodernism and to primitivism? Is there a materiality of belatedness, in other words, how can belatedness be structured within works of art themselves? Can belatedness be understood as an epistemology, and by framing it in this way, does it encourage a re-writing of the history of modernism?
https://www.hoa.ox.ac.uk/event/terra-foundation-american-art-study-day