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AHA 4960/8110 PresentationsTuesday Presentations | Wednesday Presentations Tuesday, November 17, 2009 | Tuesday's program (pdf)Sarah Lake
In 2008, Guy Cobb painted braille sunflowers as a donation to the Museum of Art and Archeology (R-2009.1). He calls it a “touch painting,” and it is part of a larger project Cobb has undertaken to emphasize the importance of tactile experience in addition to the visual experience of art. Cobb asserts this by placing oversized Braille letters directly on the brightly colored, fauvist-inspired canvases. braille sunflowers exemplifies Cobb’s attempt to create paintings which are accessible to everyone, even the blind, and to convey to his audience a sense of joy that can only be realized through a personal exchange between person and art object. Jessica Hembrey
African Red Slip ware with applied figural decoration was produced in North Africa from the 3rd to the 7th centuries. These figures from both pagan and Biblical stories, cast in molds and then applied to the vessels, show a great complexity and richness of imagery. One such bowl from the Museum of Art and Archaeology shows the Judgment of Solomon (97.22). Although a rarely used story, the molded figures from this bowl show up together or separately on other Red Slip wares raising questions about their production and for whom or on what occasion such vessels were created. Stephanie Chapman
A medieval ivory panel carved with a scene from the Adoration of the Magi (2007.5), currently on display in the Museum of Art and Archaeology, is understood to be the extant left half of a Gothic diptych, dating to the third quarter of the fourteenth century. The panel, which shows evidence of extensive use before and after it was damaged, invites an exploration into the significance of ivory carving following the mid-13th century revival of the trade in elephant ivory, as well as the ways in which medieval diptychs were used and decorated, especially in regard to dress and portability, social status and gender, and value. Nicki Eatinger
Are these 17th century prints, or prints made later with a 17th century plate? Jean Lepautre was a French engraver whose work was well known during his lifetime and sought after long after he died. He came from a family of artists; his father was a joiner, his brothers, one an architect, the other a mason. Careful examination of printing technique, reproduction quality, and the paper used raise the possibility that these intaglio prints were not made at the time of Lepautre. This helps demonstrate the popularity of his designs and their possible influence at the time of Louis XIV and beyond. Eleanor Etzler
This paper will examine the bust of African-American modern dancer Maudelle Bass by Beulah Woodard (2007.40). I will analyze the presentation of the dancer’s body in sculpture and photography. In particular, I will compare the mode of representation of white dancers Isadora Duncan and Anna Pavlova with that of black dancers Maudelle Bass and Josephine Baker. Through this analysis and historical contextualization I will demonstrate that African-American dancers were typically depicted in a sexualized manner. By relying on the bust format Woodard was able to represent dance while simultaneously negating the sexualization of the black female body in dance. Wednesday, November 18, 2009 | Wednesday's program (pdf)Lauren DiSalvo
Detailed analysis of the iconography, date, and technique of manufacture of a finger ring with a red jasper intaglio gem in the collection of the Museum of Art and Archaeology (65.93) demonstrates that it represents a departure from the Greek tradition. This paper explores the possible identities of the two women depicted on the gem and their relationship to one another, as well as the potential ownership and use of the ring. While maintaining strong ties to Greek gem engraving, this intaglio represents Roman traditions in form, subject, and the ownership and function of the ring. Caresse Ryan
As a result of his conquest of Korea in 1598, the Japanese prince of the Satsuma province imported and exploited a style of earthenware that became known as Satsuma. It was a relatively unknown faience until its mass production and exportation to the Western world during the Meiji period, 1868-1912 CE. The relevance of Satsuma ware lies not only in its historical development, but also in the methods of producing the objects, and in its design, which is diverse in subject matter. Investigation of the background, production, and adornment of a white Satsuma vase in the Museum of Art and Archaeology (80.309a, b) illustrates the impact of the westernization of Satsuma ware. Elizabeth Glueck
Nothing is more inescapable than death. Christians of the middle ages understood this well. In the 9th century a system of prayers called the Office of the Dead developed out of the funeral rites. The images that adorned the manuscripts in which these prayers appear depict the funeral, biblical scenes, and vernacular legends. I will examine A Leaf from a Book of Hours with the Opening of the Office of the Dead (2006.76) from the museum’s collection, dissect its iconography, examine its cultural context, and compare it to similar images to show its unique place among manuscripts of its kind. Rachel Navarro
This faience aryballos (60.43) from the Museum of Art and Archaeology is representative of the cultural exchange that occurred between Egypt and Greece during the Archaic period. Greek colonies in Egypt, like Naukratis where the Museum’s aryballos might have been produced, facilitated a fusion of the two cultures resulting in a Greek-formed aryballos executed in an Egyptian material and with Egyptian decoration. The frieze of birds seen on the aryballos is reminiscent of tomb paintings of Nilotic scenes, and depicts a variety of bird species including ducks and geese. Sabeena Khosla
Analysis of an Ogoni Mask with Moveable Jaw in the Museum of Art and Archaeology (73.317) reveals foreign elements as well as a local form traditionally used for masquerading. British colonial personnel, both political and religious, incorporated their own customs and beliefs into Nigerian culture and language to assert their control over the tribes. Comparing this and other Ogoni masks with those of larger tribes in Nigeria, I will explore the effects of British colonization on the masquerade cultures of southeastern Nigeria. It appears that British coertion was not as vigorous among the Ogoni as in the neighboring areas of the Yoruba, the Igbo and the Ibibio. |
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10/30/09 Department of Art History and Archaeology :: College of Arts and Science :: University of Missouri-Columbia Questions or problems with this site? Contact the Webmaster. Photo and Web credits |
Guy Cobb (American, b. 1963) 
African Red Slip Bowl Showing Biblical Scene of the Judgment of Solomon 
Panel from a Diptych Showing the Adoration of the Magi 
Jean Le Pautre (French, 1618-1682) 
Beulah Ecton Woodard (American, 1895-1955) 
Finger Ring with Intaglio Gem Showing Two Female Figures
Satsuma-style Vase and Cover 
Leaf from a Book of Hours with the Opening of the Office of the Dead 
Aryballos 
Mask with Moveable Jaw