tag:blogger.com,1999:blog-7420925828816924382.post2158897569338568313..comments2012-10-05T07:29:23.292-07:00Comments on Pre-Conference Conversations: The Digital Approach and the Globalization of Art Historical Discourses. A Case Study: Jackson Pollock in Postwar EuropeNEASA Participanthttp://www.blogger.com/profile/10267057707707000184noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-7420925828816924382.post-89749249335084910002012-07-08T14:10:21.571-07:002012-07-08T14:10:21.571-07:00Hi Catherine,
I know you may not be addressing th...Hi Catherine,<br /><br />I know you may not be addressing this directly (at least in this post), but I wonder how such a project might lead to better understandings of reception; how do the communities at that time read such exhibitions? It makes me think about how people in countries develop (or developed) their ideas about other counties....<br /><br />JonathanNEASA Participanthttps://www.blogger.com/profile/10267057707707000184noreply@blogger.comtag:blogger.com,1999:blog-7420925828816924382.post-51783567620239693632012-07-03T07:12:24.998-07:002012-07-03T07:12:24.998-07:00Hi Catherine,
Really interesting stuff, thanks fo...Hi Catherine,<br /><br />Really interesting stuff, thanks for sharing your work! <br /><br />A couple years back at a NEASA Conference, a grad student from William & Mary presented some work on the Rockefellers and their post-war tours of Europe with American artists like Pollock. She wanted to read the tours as an explicit kind of Cold War propaganda, for American exceptionalism, and thus Pollock as being co-opted into that to at least some extent. Just another side to these questions to consider, I guess--and one I'm sure you're thinking about as well, the question of how and where an artist gets these opportunities and what that adds to the conversation.<br /><br />Thanks,<br />Ben RailtonAnonymoushttps://www.blogger.com/profile/06903216392035025155noreply@blogger.com