Theorizing Wax: On the Meaning of a Disappearing Medium
Edited by: Allison Goudie & Hanneke Grootenboer
The history of wax has been a history of disappearance, partly due to the perishable quality of the material. In this Special Issue, we intend to rescue the stories of the (few) surviving artifacts as well as demonstrate their continuing impact on our understanding of object hood. One way to do justice to wax’s potholed past is to look as much at the physical objects that have disappeared from view as at the metaphors they have left behind. As the contributions in this issue show, wax has proven to be fascinating and rich medium for artists who were able to create hyper-realistic figures, as well as a surprisingly flexible metaphor whose tenacity and longevity contrasts sharply with the substance’s proneness to deterioration.
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Early Modern Horror
Edited by: Maria H. Loh
To order a copy of this Special issue, please click here and select issue 34/3
Mal'occhio: Looking Awry at the Renaissance
This special issue, co-edited with Maria Loh, originated in an Oxford Art Journal conference Mal'occhio: Looking Awry at the Renaissance, held in November 2008, organised under the auspices of the Courtauld Institute of Art Research Forum with generous support from University College London and Oxford University Press. Ugo da Carpi's print of Diogenes from the British Museum was used as the poster for the conference and as an emblem for its aims. Who better than that great debunker of social norms, Diogenes the Cynic, to stand for questioning the ‘civilisation of the Renaissance’?
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Jeff Wall’s work has long been of great interest to art historians. Jeff Wall’s work is currently being reconsidered after extremely prominent retrospectives at the Schaulager and Tate Modern (2005), and prior to another retrospective at MoMA (2007) which will tour to Chicago and San Francisco. This Special Issue grew out of a conference that took place at Tate Modern during the retrospective there. Six art historians gave papers, each looking at one particular work by Wall. Revised versions of five of these papers are presented in the Special Issue alongside new essays by scholars working on photography and 20th century art history.
A range of voices can be heard in this Special Issue, some quite skeptical about Wall’s practice, and some exploring it in brand new ways. Wall is considered in relation to Marcel Duchamp, in relation to night photography, to George Stubbs, as well as to more obvious figures such as Victor Burgin. The issue also contains a brand new, previously unpublished interview between John Roberts and Jeff Wall.
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