Daniel Spaulding
Biographic Data
| ID | 1595145 |
|---|---|
| NAME | Daniel Spaulding |
| GIVEN NAMES | Daniel |
| FAMILY NAME | Spaulding |
| SIGNATURE | SPAULDING D |
| AFFILIATIONS | Getty Research Institute |
| ORCID | 0000-0001-9457-386X |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Joseph Beuys and History
Chapter 1. The Matter of Myth
"Daniel Spaulding. Review of "Fluxus Administration
Fiction, time, and room-space in three pictures by Jeff Wall
The Prehistoricity of Cinema
This article argues that Werner Herzog's 2010 film Cave of Forgotten Dreams both enacts and undermines a desire for origins that was characteristic of 20th century modernist discourse. I argue that the aim of the film is literally to embody the origin of cinema, as figured in the recurring motif of projected light playing across the darkened walls of Chauvet Cave, the earliest known site of prehistoric painting. Drawing on texts by Wilson Harris,…
A Scheme Transfer for Global Modernism
This article proposes a new articulation of the field of global-modernist art history by way of three case studies: The influence of canonical African sculpture on early Cubism, the emergence of modern art in late-colonial South Asia, and Nigerian modernism around the moment of independence in 1960. Drawing on research by Joshua I. Cohen, Suzanne Preston Blier, Partha Mitter, Geeta Kapur, and Chika Okeke-Agulu, I argue that this growing field of …
Orders of Appearance
Estrangement and recognition will alternate in the mind of any Anglo-American art historian reading Sebastian Egenhofer’s two books. His signposts are, if anything, overfamiliar: in Abstraktion – Kapitalismus – Subjektivität, the earlier volume, they are Marcel Duchamp, Piet Mondrian, Jackson Pollock, Andy Warhol, and the American Minimalists of the 1960s (Donald Judd is his key figure). The introduction of Michael Asher and Thomas Hirschhorn in …
John Heartfield’s Communism
Sabine T. Kriebel’s Revolutionary Beauty is the most thorough study to date of the Communist photomontage artist John Heartfield’s work for the Arbeiter-Illustrierte-Zeitung ( aiz ) in the late 1920s and 1930s. Kriebel analyses Heartfield’s production through the frame of ‘suture’, a concept she derives from film theory. She argues that Heartfield’s work at once stimulated collective solidarity at the same time as it cultivated habits of visual s…
Occupy Response
Occupation as a revolutionary tactic has a long history, from the factory takeovers in post-World War I Italy, to the Sorbonne in May 1968, to Tahrir Square in 2011. The use of "Occupy" as a rallying cry is of more recent origin, however. In December 2008, students at the New School barricaded themselves inside a student center that had been slated for demolition, demanding the university president's resignation. In the aftermath of their evictio…
No prominent works on this page.
Occupy Response
Occupation as a revolutionary tactic has a long history, from the factory takeovers in post-World War I Italy, to the Sorbonne in May 1968, to Tahrir Square in 2011. The use of "Occupy" as a rallying cry is of more recent origin, however. In December 2008, students at the New School barricaded themselves inside a student center that had been slated for demolition, demanding the university president's resignation. In the aftermath of their evictio…
John Heartfield’s Communism
Sabine T. Kriebel’s Revolutionary Beauty is the most thorough study to date of the Communist photomontage artist John Heartfield’s work for the Arbeiter-Illustrierte-Zeitung ( aiz ) in the late 1920s and 1930s. Kriebel analyses Heartfield’s production through the frame of ‘suture’, a concept she derives from film theory. She argues that Heartfield’s work at once stimulated collective solidarity at the same time as it cultivated habits of visual s…
Orders of Appearance
Estrangement and recognition will alternate in the mind of any Anglo-American art historian reading Sebastian Egenhofer’s two books. His signposts are, if anything, overfamiliar: in Abstraktion – Kapitalismus – Subjektivität, the earlier volume, they are Marcel Duchamp, Piet Mondrian, Jackson Pollock, Andy Warhol, and the American Minimalists of the 1960s (Donald Judd is his key figure). The introduction of Michael Asher and Thomas Hirschhorn in …
The Prehistoricity of Cinema
This article argues that Werner Herzog's 2010 film Cave of Forgotten Dreams both enacts and undermines a desire for origins that was characteristic of 20th century modernist discourse. I argue that the aim of the film is literally to embody the origin of cinema, as figured in the recurring motif of projected light playing across the darkened walls of Chauvet Cave, the earliest known site of prehistoric painting. Drawing on texts by Wilson Harris,…
A Scheme Transfer for Global Modernism
This article proposes a new articulation of the field of global-modernist art history by way of three case studies: The influence of canonical African sculpture on early Cubism, the emergence of modern art in late-colonial South Asia, and Nigerian modernism around the moment of independence in 1960. Drawing on research by Joshua I. Cohen, Suzanne Preston Blier, Partha Mitter, Geeta Kapur, and Chika Okeke-Agulu, I argue that this growing field of …
Fiction, time, and room-space in three pictures by Jeff Wall
"Daniel Spaulding. Review of "Fluxus Administration
Joseph Beuys and History
Chapter 1. The Matter of Myth
Art, Politics, and Modernism (5 works) · Art (4 works) · Art history (4 works) · Philosophy (4 works) · Aesthetics (2 works) · Archaeology (2 works) · Cinema and Media Studies (2 works) · Epistemology (2 works) · History (2 works) · Italian Fascism and Post-war Society (2 works)