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“All of this,” Payer writes, “was offered in service of our work in American art; work that as Renée Ater reminded us must ‘be relevant to the communities we are teaching and living in’ during a Saturday afternoon panel.” #JournalPanorama #AHAATakeover 5/5

There were also broader conversations related to the American survey course and the study of American sculpture, as well as visits to the Joe Minter exhibition at the Marc Steel Warehouse and the Abroms-Engel Institute for the Visual Arts at UAlabama at Birmingham. #JournalPanorama #AHAATakeover 4/5

Following a keynote by #JournalPanorama’s editors (you’re welcome), attendees enjoyed sessions on “Meaning, Materials, and Materiality,” “Home/Place,” “Imagined American Wests,” “Transnational and Transcultural Connections,” and “The Detritus of American Art.” #JournalPanorama #AHAATakeover 3/5

A highlight was a tour of Joe Minter’s African Village in America. “An immersion into a cacophony of improvised sculptures that pay homage to African Diasporic history and the Civil Rights Movement…was a fitting preamble” for all that followed, Payer writes. #JournalPanorama #AHAATakeover 2/5

Finally, Manthorne observes, the catalogue deals powerfully with “Indigeneity and the legacy of colonialism,” particularly in the work of contemporary Arctic artists: Kiliii Yüyan, Julie Edel Hardenber, Minik Bidstrup, Inuuteq Storch, & Outi Pieski, among others. #JournalPanorama #AHAATakeover 5/5

Another theme, Manthorne writes, is “the surprising degree of diversity among the explorers in the region,” including “women, representatives of many Euro-American nations, men of color such as Matthew Henson, and Indigenous people.” #JournalPanorama #AHAATakeover 4/5

Manthorne identifies three key themes that “ cut across a half-millennium of visual history,” including the “directed gaze,” a deep cross-cultural attention to the importance of looking, observing and recording moments of contact, conditions, and change. #JournalPanorama #AHAATakeover 3/5

Awe of the Arctic accompanied a show of the same name at @nypl.bsky.social in early 2024 but stands on its own as “a pictorial record of the Polar North created over the past five hundred years.” It includes 15 “short, smart essays” from scholars in various fields. #JournalPanorama #AHAATakeover 2/5

Brookhiser’s strength is conveying that Trumbull’s great paintings of the Declaration and Washington’s resignation set forth “an epic hypothesis regarding civilian self-government and that they then prove the feasibility of that hypothesis.” Fingers crossed, Dad. #JournalPanorama #AHAATakeover 5/5

Staiti says “Brookhiser’s art talk is fair but incomplete,” acknowledging both that “it is important to remember that Brookhiser is not writing for professional art historians” and that nevertheless some masterworks “[need] richer treatment for any audience.” #JournalPanorama #AHAATakeover 4/5

The history is “solid and succinct,” writes Staiti, though dependent on Trumbull’s own autobiography. The result is that he "endorses the mythic figure at the same time that he recognizes the problem with the mythic tendencies in Trumbull’s narrative of himself.” #JournalPanorama #AHAATakeover 3/5

Brookhiser is a senior editor at the National Review and a frequent biographer of founding-father types; this is his first attempt at art history. Accordingly, Staiti observes, he focuses more on Trumbull’s life than his art. #JournalPanorama #AHAATakeover 2/5

*collectIVE printmaking 🙄

The book’s cover, a wrenching serigraph by Sandra C. Fernández, for instance, calls out the “monoethnic imaginary of white nationalism” in the US that “fuels the criminalization of unaccompanied minors navigating the gauntlet of cross-border migration.” #JournalPanorama #AHAATakeover 5/5

The book’s focus is not terminology, however, but how collecting printmaking activities within these communities have worked to reclaim or “reterritorialize” the Americas by centering the body “as a site of knowledge, violence, racialization, and resistance.” #JournalPanorama #AHAATakeover 4/5

…Instead, Reinoza uses “Latinx” to bring “much-needed attention to artists of diverse national origins, racial positions, and class experiences, who have been constituted as ‘forever foreign’ within the Anglo-dominant imaginary of US nationalism.” #JournalPanorama #AHAATakeover 3/5

The term Latinx is a controversial one in today’s discourse, as both Reinoza and Coffey acknowledge. “Like [cultural anthropologist Arlene] Dávila,” Coffey writes, “Reinoza refuses to define ‘Latinx’ in positivist, universalizing, or transhistorical terms...” #JournalPanorama #AHAATakeover 2/5