Papers by Danielle J Stewart
Modernism, Art, Therapy, 2024
In 1933 the violinist-turned-psychiatrist Osório Cesar returned to Brazil after a two-year trip t... more In 1933 the violinist-turned-psychiatrist Osório Cesar returned to Brazil after a two-year trip to Europe and began writing a treatise on the relationship between art and psychiatry: A arte nos loucos e vangardistas (Art of the insane and the vanguard). At the time, Cesar was gaining notoriety in Brazilian intellectual circles for his psychoanalytic interpretations of his patients' artistic production and his gentle approach to psychiatric treatment. 494 Heavily influenced by the theories of Sigmund Freud, Cesar saw parallels between the Cubist abstraction and Surrealist symbols present in both the work of his patients at the Juquery Psychiatric Hospital and the production of his friends involved in São Paulo's nascent modernist art movement. In A arte nos loucos, he quotes the famous Austrian psychoanalyst's pronouncement that "the artist is a man escaping reality," and suggests that vanguard artists and "loucos" were compelled by similar instincts, exhibited similar behaviors, and produced comparable work. 495 Cesar was accompanied in his European travels by the Brazilian Surrealist painter Tarsila do Amaral, with whom he was romantically involved. He spent his time abroad interning at medical centers, including the famous Salpetrière Hospital in Paris. In addition to pioneering humanitarian reforms under director Philippe Pinel in the late eighteenth century, the Salpetrière and its patients gained renown as the subjects of paintings by the French artist Armand Gautier exhibited at the 1857 Paris Salon. 496 Echoes of Gautier's Madwomen of the Salpetrière (1855) are present in a photograph made by German Brazilian artist Alice Brill when she visited Juquery Hospital in 1950 (fig. 9.1). Shot from above an open courtyard, the square print captures women and children in loosely fitting hospital robes walking and lounging under a protective canopy of trees. Brill's physically distanced view is less confrontational than Gautier's painting, but both depictions emphasize the openness of the treatment facility, the patients' access to sunlight and fresh air, and the relative freedom of movement allowed within the confines of the asylum. Thus, the pictures represent their respective institutions as sites of progressive medical treatment. Fig. 9.1. Alice Brill, patients at the Juquery Psychiatric Hospital, 1950. Gelatin silver print, 6 × 6 cm (negative).
XLIII COLOQUIO INTERNACIONAL DE HISTORIA DEL ARTE: LÓGICAS DE DOMINACIÓN Y RESISTENCIA, 2024
La presente publicación fue sometida al sistema de dictaminación doble ciego por dos pares académ... more La presente publicación fue sometida al sistema de dictaminación doble ciego por dos pares académicos avalado por el Comité Editorial del Instituto de Investigaciones Estéticas, /#$7, que ratifica su calidad y pertenencia académica científica. ISBN 978-607-30-9600-3 (PDF en línea) ISBN 978-607-30-9601-0 (rústica) Esta obra está licenciada por el Instituto de Investigaciones Estéticas. Usted es libre de utilizarla con fines académicos, no lucrativos, ni comerciales. Al hacer uso de este material, usted se compromete en todo momento a respetar los derechos de autor y citar de manera correcta dando los créditos respectivos. Lo invitamos a leer el texto íntegro de la licencia
Vistas, 2020
The Annual Symposium of Latin American Art brings together graduate students, emerging scholars, ... more The Annual Symposium of Latin American Art brings together graduate students, emerging scholars, and artists to share and discuss the multitude of perspectives that inform the artistic production and discourses of the region, as well as of US Latino art. This two-day series of panels also features prominent keynote speakers who are shaping the understanding of Latin American art today. Established by the Institute for Studies on Latin American Art (ISLAA)
Mulheres Fotógrafas/ Mulheres Fotografadas, 2021
This essay analyzes the form and content of Brazilian artist Geraldo de Barros' 1951 exhibition F... more This essay analyzes the form and content of Brazilian artist Geraldo de Barros' 1951 exhibition Fotoforma. In the Fotoforma photographs, Barros employed photography as a process of construction. With photographs of construction materials as his building blocks, Barros rebuilt urban space by layering his negatives with artistic interventions , drawing attention to the tenuousness (physical and theoretical) of São Paulo's urban structure. The experimental form of Barros' oeuvre, as well as his interest in vernacular spaces, creates a place for marginalized narratives to enter the dialog of Brazilian modernization.
Bitácora, 2019
In an image-saturated world, what role does photography play in shaping architectural design and ... more In an image-saturated world, what role does photography play in shaping architectural design and development? According to the historian Peter Blundell Jones, architecture since the modern period can be considered "photo-dependent, " because its ideal viewing conditions are not in situ, but isolated in photographs: framed, cropped and collaged to enhance symbolic and aesthetic value. 1 In this essay, I argue that Jones' s architectural "photo-dependency" is only half of a co-dependent relationship between photography and architecture that has developed since the former' s nascent years. Many of the first photographs taken by early experimenters with the medium featured architectural content, a pragmatic response to photography' s extended exposure times. Before it was considered an art form, photography' s utilitarian role in documenting historic structures afforded it a prominent place within the cultural dialogue. Even after exposure times decreased sufficiently to widen photography' s practical applications around the turn of the twentieth century, architectural photography remained a key genre well into the modern period. The infrastructural development of twentieth century São Paulo, Brazil offers a prime example of photography' s power to impact urban spaces and architectural style. At the beginning of the century, São Paulo was emphatically flat-and Paulistanos liked it that way. Brazil' s first skyscraper, the Neo-Renaissance Martinelli building, was built between 1929 and 1934. At 30 stories high, the building was not only the tallest in Brazil, but in all of South America. However, the Martinelli was also an elaborate exception that proved the rule of the city' s horizontality: the year of its completion was the first year that buildings of two stories or more made up at least 50% of all new construction. 2 For almost four hundred years, since its founding in 1554, São Paulo had been a sleepy village set in a swampy floodplain. Its emergence in the modern period as a global megacity was determined in part by technological innovations-like elevators and concrete construction-that allowed for its dramatic "verticalization" as skyscrapers took root in the city center, but also by the maturation of a photographic narrative that began almost a century prior. This article attempts to demonstrate the effect of circulated photographic images on São Paulo' s urban development through an examination of a particularly popular genre in the city: the comparative album. This format set historical views of the city alongside contemporary scenes taken from the same or similar vantage points in order to cultivate comparisons that illustrated how the city' s urban development manifested architecturally. Beginning in the late nineteenth century and culminating in the lead-up to the four hundredth anniversary of the city' s founding in 1954, comparative albums were an immensely popular form whose analysis in the present not only offers a visual voyage through São Paulo' s changing landscape, but also deconstructs how the narrative of architectural progress became a pillar of Paulistano identity. The central premise of comparative albums-documenting urban change over time-illustrated the city' s modernization and helped to concretize the idea of "progress" as one of its defining characteristics. By examining individual spreads within comparative photo albums and essays published over the course of seventy years, I will demonstrate how infrastructural and architectural development became the defining feature of Paulistano visual culture, and how photography helped to publicize and promote local construction. Abstract A principle feature of São Paulo photography is the predominance of comparative albums that illustrate modern progress by juxtaposing contemporary and past imagery. Within these comparative albums, paired architectural vistas became a primary means of demonstrating São Paulo's transformation into a modern city, especially as the city became increasingly "verticalized" in the mid-twentieth century. This paper employs the iconographic analysis of photographs in comparative albums and magazine spreads to show how photographic narratives of infrastructural progress helped to propel architectural trends and shift public opinion about the aesthetics and function of the city. In doing so, I demonstrate how architecture and photography operated as symbiotic practices in midcentury urban Brazil. Resumen Una característica principal de la fotografía en São Paulo es el predominio de álbumes comparativos que ilustran el progreso moderno con la yuxtaposición de imágenes contemporáneas y pasadas. Dentro de estos álbumes, las vistas arquitectónicas pareadas se convirtieron en el medio principal para demostrar la transformación de São Paulo en una ciudad moderna, especialmente cuando la ciudad empezó a hacerse cada vez más vertical, a mediados del siglo xx. Este artículo emplea el análisis iconográfico de fotografías en álbumes comparativos y revistas para mostrar cómo las narrativas fotográficas de progreso infraestructural ayudaron a impulsar las tendencias arquitectónicas y a cambiar la opinión pública sobre la estética y la función de la ciudad; con ello se demuestra que la arquitectura y la fotografía operaban como prácticas simbióticas en las zonas urbanas de Brasil a mediados de siglo.
Journal of Geography in Higher Education, 2013
Traditionally, repeat photography has been used to analyze land cover change. This paper describe... more Traditionally, repeat photography has been used to analyze land cover change. This paper describes how repeat photography may be used as a tool to enhance the short- term study abroad experience by facilitating cultural interaction and understanding. We present evidence from two cases and suggest a five-step repeat photography method for educators to use to increase participation and cultural interaction of students involved in fieldwork, long-haul fieldwork, and study abroad programs. We suggest that through the five steps developed in this paper that students’ potential to understand and interact within the host culture is increased.
Book Reviews by Danielle J Stewart
caareviews.org, 2022
Adrián Gorelik's La grilla y el parque: Espacio público y cultura urbana en Buenos Aires first ap... more Adrián Gorelik's La grilla y el parque: Espacio público y cultura urbana en Buenos Aires first appeared in print nearly a quarter century ago, in 1998, but the persistence of Eurocentricity within the disciplines of art and architectural history have delayed its translation and, thus far, limited its reach to primarily Latin Americanist circles. Now, thanks to the translation efforts of Natalia Majluf, it is
Latin American and Latinx Visual Culture, 2023
Studies in Latin American Popular Culture, 2020
Studies in Latin American Popular Culture
Latin American Research Review, 2020
Journal of Planning History, 2019
Luso-Brazilian Review, 2018
Teaching Documents by Danielle J Stewart
Course Description This course highlights twenty major documentary photography projects, many of ... more Course Description This course highlights twenty major documentary photography projects, many of which were published contemporaneously as photo books, produced over the course of sixty years (1932-1992) in the United States. All of the projects address to a greater or lesser degree what it means to be American, a question that has become increasingly embattled in recent years. By examining the development and evolution of documentary photography in twentiethcentury America, we will consider why the genre has been so appealing and productive for photographers, how documenting the American experience has shaped that experience, and whom the documentary mode has favored and/or maligned. We will look at historical moments and movements (the rise of progressive politics in the thirties, feminism, the Civil Rights movement, and counterculture movements) as well as important stylistic/methodological trends like New Journalism, New Documentary, and New Topographics. Students will be encouraged to understand the documentary mode historically, aesthetically, technically, and theoretically through a combination of in-class discussion and outside projects.
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Papers by Danielle J Stewart
Book Reviews by Danielle J Stewart
Teaching Documents by Danielle J Stewart