Blog Category: Highlights

From our friends at JSTOR Daily

Bag (reticule). British. First quarter 19th century. Image and data courtesy The Metropolitan Museum of Art.

The purse has always been political, a reflection of changing economic realities and gender roles. Blame the Balenciaga IKEA bag. When the $2,145 luxury lambskin version of the familiar blue plastic shopping bag appeared on the runway in June 2016, it was the beginning of the end of a glorious era of capacious hobo bags, boat totes, and bucket bags. The upscale counterfeit triggered a backlash against fashion’s flirtation with so-called poverty chic, but also against gigantic bags in general. From a 19-gallon capacity, there was nowhere to go but down.

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Dr. Kelli Morgan, Associate Curator of American Art at the Indianapolis Museum of Art (IMA) at Newfields introduces us to some of the American gems in the IMA’s collection.

The American collection at the Indianapolis Museum of Art at Newfields (IMA) is an encyclopedic group of brilliant objects that span U.S. history from the Colonial period to the 1970s. The collection is well known for its American Impressionism, modernist painting and sculpture, and of course Indiana’s own Hoosier School. Yet, IMA’s American collection is comprised of such a diverse array of objects that it offers an alternative look at the American canon.

The Artstor Digital Library is replete with images from nature: arks of animals, a plethora of plants, and the dazzling spectacles of the earth. Meticulous renderings of animal and botanical species from classical times through the onset of photography may be studied alongside striking contemporary photographs. Illustrations of animal, plant and mineral specimens are also available as well as records of scientific fieldwork, and larger ecosystems.

Johann Georg Adam Forster. Serval, Leptailurus (genus); serval (species), Cape of Good Hope, South Africa. 1775. Image and data provided by the Natural History Museum, London

Stanley N. Botwinik. Leopard portrait. 1970. Tanzania, Serengeti. Image and data provided by Peabody Museum of Natural History (Yale University)

Chris de Bode. A dwarf mouse lemur. 2006. West Madagascar, Africa. Image and data provided by © Chris de Bode/Panos Pictures

Ami Vitale. Elephants in Kaziranga National Park. 2003. Photograph. Image and data provided by © Ami Vitale/Panos Pictures

Asterope sapphira (nymphalid butterfly). Collected January, 1936. Image and data provided by Peabody Museum of Natural History (Yale University)

Fyodor Tolstoy. Butterfly. 1821. Image and data provided by SCALA, Florence/ART RESOURCE, N.Y.

Andy Warhol, Dog, 1982. Artwork and Image © The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Dog, undated. Artwork and Image © The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Dog, undated. Artwork and Image © The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Dog, undated. Artwork and Image © The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Dog, undated. Artwork and Image © The Andy Warhol Foundation for the Visual Arts, Inc.

Andy Warhol, Dog, undated. Artwork and Image © The Andy Warhol Foundation for the Visual Arts, Inc.

When you see Andy Warhol’s name, his Pop Art paintings of Marilyn Monroe, Elvis Presley, and Campbell’s soup cans probably spring to mind. But Warhol’s interests extended beyond fame and commerce, as evidenced in the photos he took to record his daily life. “A picture means I know where I was every minute,” the artist said. “That’s why I take pictures. It’s a visual Diary.”

James Winthrop. Egyptian hieroglyphics, from public monuments extracted from Denon. Late 18th or early 19th century. Image and data courtesy Allegheny College Library Special Collections.

The Allegheny College Egyptian Hieroglyphics collection features every page of a single manuscript in the James Winthrop Collection. The collection includes approximately 3,000 titles from the libraries of Winthrop and his father, John Winthrop, who was Hollis Professor of Natural Philosophy and Mathematics at Harvard. This particular manuscript is in the public domain, and Allegheny has shared this digital reproduction as a Public Collection in Artstor so that anyone can view and download the images.

…and how to protect yourself from them

While there were a lot of delightful beliefs about animals in the Middle Ages (our favorite: hedgehogs roll on grapes to spear them on their spines so they can take them home to their young), this Halloween season we’re focusing on the creepiest creatures of all: reptiles! Not to worry, we’ll also tell you what to do to stay safe from them.

Our source for this guide is Richard Barber’s translation of the Bodleian Library’s MS Bodley 764, a mid-thirteenth century bestiary, so don’t be too surprised if the descriptions deviate just a tad from contemporary herpetology.

Bestiary. Folio #: fol. 160r, 12th century. Image and original data provided by the Bodleian Library, University of Oxford.

Let’s start with plain old snakes. We bet you didn’t know that snakes are frightened by naked men, but attack clothed ones. Unfortunately our source doesn’t specify how snakes respond to women (the thirteenth century not being the most progressive of centuries), so your best bet is to keep a stag nearby, as they can handily deal with bothersome serpents.

Chatham University, Rachel Carson in the Pennsylvania College for Women Yearbook, The Pennsylvanian, 1928. Image and data courtesy the Collection on Rachel Carson, Chatham University Archives & Special Collections.

On this day in 1962, Rachel Carson’s Silent Spring was published, bringing widespread attention to environmental issues caused by the use of synthetic pesticides in the United States. The book sparked controversy, particularly from chemical companies that dismissed Silent Spring’s assertions about the connection between pesticides and ecological health. However, Carson’s claims were borne out and the book is widely credited with sparking the modern environmental movement that eventually spawned the Environmental Protection Agency.

Hippolyte Bayard, Self Portrait as a Drowned Man, 1840. Data from University of California, San Diego.

Hippolyte Bayard, Self Portrait as a Drowned Man (verso), 1840. Data from University of California, San Diego.

In a grainy 1840 photograph, a partially-covered corpse is propped against a wall, its decay evident in the darkening skin of the face and hands. The body is that of Hippolyte Bayard, an early inventor of photographic processes and supposed drowning victim, and written on the image verso is a strange note:

On Broadway, 1983 January 22. Aaron Cometbus Punk and Underground Press Collection. Image courtesy the Division of Rare and Manuscript Collections, Cornell University Library.

The Dry House, 1988 May 06. Aaron Cometbus Punk and Underground Press Collection. Image courtesy the Division of Rare and Manuscript Collections, Cornell University Library.

Keystone Berkeley, 1981 May 14. Aaron Cometbus Punk and Underground Press Collection. Image courtesy the Division of Rare and Manuscript Collections, Cornell University Library.

Dead Kennedys, 1980's. Johan Kugelberg punk collection, circa 1974-1986. Image courtesy the Division of Rare and Manuscript Collections, Cornell University Library.

Punk flyers from the 1970s to the 1990s shared many of the qualities of the music they promoted–a DIY aesthetic, an embrace of cheap and accessible technology (i.e., photocopiers), plus a healthy dose of humor. In contrast to the often ornate Art Nouveau-inspired rock posters of the psychedelic 1960s, punk flyers typically featured dissonant collages, crude handwriting, and amateurish drawing–not to mention a strict limitation of color.

Elliott Erwitt. USA; NYC; Candice Bergen dancing at the Truman Capote B&W Ball at the Plaza Hotel. 1966. ©Elliott Erwitt / Magnum Photos

Truman Capote’s fame transcended his literary status; he was famous for being, well, famous half a century before reality television and social media stars even existed. Also a uniquely gifted writer, Capote sought fame through publicity stunts, television appearances, and his friendships with both the social and Hollywood elite of the mid-twentieth century. Capote nurtured a persona based on being entertaining, rapier-witted, and eager to spread a rumor–attributes that would later haunt him.