bluuebunny/crossref_metadata_2025 huggingface dataset:
SCFβ-TRCP links Chk1 signaling to degradation of the Cdc25A protein phosphatase
Authors: Jin Jianping , Shirogane Takahiro , Xu Lai , Nalepa Grzegorz , Qin Jun , Elledge Stephen J. , Harper J. Wade
Published: December 2003

Eukaryotic cells respond to DNA damage and stalled replication forks by activating protein kinase-mediated signaling pathways that promote cell cycle arrest and DNA repair. A central target of the cell cycle arrest program is the Cdc25A protein phosphatase. Cdc25A is required for S-phase entry and dephosphorylates tyrosine-15 phosphorylated Cdk1 (Cdc2) and Cdk2, positive regulators of cell division. Cdc25A is unstable during S-phase and is degraded through the ubiquitin-proteasome pathway, but its turnover is enhanced in response to DNA damage. Although basal and DNA-damage-induced turnover depends on the ATM-Chk2 and ATR-Chk1 pathways, how these kinases engage the ubiquitin ligase machinery is unknown. Here, we demonstrate a requirement for SCFβ-TRCP in Cdc25A turnover during an unperturbed cell cycle and in response to DNA damage. Depletion of β-TRCP stabilizes Cdc25A, leading to hyperactive Cdk2 activity. SCFβ-TRCP promotes Chk1-dependent Cdc25A ubiquitination in vitro, and this involves serine 76, a known Chk1 phosphorylation site. However, recognition of Cdc25A by β-TRCP occurs via a noncanonical phosphodegron in Cdc25A containing phosphoserine 79 and phosphoserine 82, sites that are not targeted by Chk1. These data indicate that Cdc25A turnover is more complex than previously appreciated and suggest roles for an additional kinase(s) in Chk1-dependent Cdc25A turnover.
Exportin-5 mediates the nuclear export of pre-microRNAs and short hairpin RNAs
Authors: Yi Rui , Qin Yi , Macara Ian G. , Cullen Bryan R.
Published: December 2003

MicroRNAs (miRNAs) are initially expressed as long transcripts that are processed in the nucleus to yield ∼65-nucleotide (nt) RNA hairpin intermediates, termed pre-miRNAs, that are exported to the cytoplasm for additional processing to yield mature, ∼22-nt miRNAs. Here, we demonstrate that human pre-miRNA nuclear export, and miRNA function, are dependent on Exportin-5. Exportin-5 can bind pre-miRNAs specifically in vitro, but only in the presence of the Ran-GTP cofactor. Short hairpin RNAs, artificial pre-miRNA analogs used to express small interfering RNAs, also depend on Exportin-5 for nuclear export. Together, these findings define an additional cellular cofactor required for miRNA biogenesis and function.
Two different proteins that compete for binding to thrombin have opposite kinetic and thermodynamic profiles
Authors: Baerga‐Ortiz Abel , Bergqvist Simon , Mandell Jeffrey G. , Komives Elizabeth A.
Published: December 2003

Thrombin binds thrombomodulin (TM) at anion binding exosite 1, an allosteric site far from the thrombin active site. A monoclonal antibody (mAb) has been isolated that competes with TM for binding to thrombin. Complete binding kinetic and thermodynamic profiles for these two protein–protein interactions have been generated. Binding kinetics were measured by Biacore. Although both interactions have similar KDs, TM binding is rapid and reversible while binding of the mAb is slow and nearly irreversible. The enthalpic contribution to the ΔGbind was measured by isothermal titration calorimetry and van't Hoff analysis. The contribution to the ΔGbind from electrostatic steering was assessed from the dependence of the ka on ionic strength. Release of solvent H2O molecules from the interface was assessed by monitoring the decrease in amide solvent accessibility at the interface upon protein–protein binding. The mAb binding is enthalpy driven and has a slow kd. TM binding appears to be entropy driven and has a fast ka. The favorable entropy of the thrombin–TM interaction seems to be derived from electrostatic steering and a contribution from solvent release. The two interactions have remarkably different thermodynamic driving forces for competing reactions. The possibility that optimization of binding kinetics for a particular function may be reflected in different thermodynamic driving forces is discussed.
Variability‐based sequence alignment identifies residues responsible for functional differences in α and β tubulin
Authors: Fygenson D. Kuchnir , Needleman Daniel J. , Sneppen Kim
Published: December 2003

α and β Tubulin are well‐characterized paralogs with similar structures and functions. We quantify the variability of every amino acid position in both tubulins from the aligned sequences of their numerous known orthologs. By aligning the variability profiles, we identify residues that differ significantly in variability between α and β tubulin. Most of these residues are part of well‐defined secondary structures and are clustered around the nucleotide binding pocket, the site of greatest functional difference between the two paralogs. The remaining residues of large difference in variability are located in the N‐terminal loop between H1 and S2. We therefore predict that certain residues in this unstructured region also contribute to a functional difference between α and β tubulin. Furthermore, we find the most restrictive variability‐based alignment is nearly identical to the true structure‐based alignment. Thus, by using a stringent variability‐based alignment to approximate the true alignment, the method introduced here may predict sites of functional distinction between paralogous proteins even in the absence of structural information.
FoldMiner: Structural motif discovery using an improved superposition algorithm
Authors: Shapiro Jessica , Brutlag Douglas
Published: December 2003

We report an unsupervised structural motif discovery algorithm, FoldMiner, which is able to detect global and local motifs in a database of proteins without the need for multiple structure or sequence alignments and without relying on prior classification of proteins into families. Motifs, which are discovered from pairwise superpositions of a query structure to a database of targets, are described probabilistically in terms of the conservation of each secondary structure element's position and are used to improve detection of distant structural relationships. During each iteration of the algorithm, the motif is defined from the current set of homologs and is used both to recruit additional homologous structures and to discard false positives. FoldMiner thus achieves high specificity and sensitivity by distinguishing between homologous and nonhomologous structures by the regions of the query to which they align. We find that when two proteins of the same fold are aligned, highly conserved secondary structure elements in one protein tend to align to highly conserved elements in the second protein, suggesting that FoldMiner consistently identifies the same motif in members of a fold. Structural alignments are performed by an improved superposition algorithm, LOCK 2, which detects distant structural relationships by placing increased emphasis on the alignment of secondary structure elements. LOCK 2 obeys several properties essential in automated analysis of protein structure: It is symmetric, its alignments of secondary structure elements are transitive, its alignments of residues display a high degree of transitivity, and its scoring system is empirically found to behave as a metric.
Tubulin equilibrium unfolding followed by time‐resolved fluorescence and fluorescence correlation spectroscopy
Authors: Sánchez Susana A. , Brunet Juan E. , Jameson David M. , Lagos Rosalba , Monasterio Octavio
Published: December 2003

The pathway for the in vitro equilibrium unfolding of the tubulin heterodimer by guanidinium chloride (GdmCl) has been studied using several spectroscopic techniques, specifically circular dichroism (CD), two‐photon Fluorescence Correlation Spectroscopy (FCS), and time‐resolved fluorescence, including lifetime and dynamic polarization. The results show that tubulin unfolding is characterized by distinct processes that occur in different GdmCl concentration ranges. From 0 to 0.5 M GdmCl, a slight alteration of the tubulin heterodimer occurs, as evidenced by a small, but reproducible increase in the rotational correlation time of the protein and a sharp decrease in the secondary structure monitored by CD. In the range 0.5–1.5 M GdmCl, significant decreases in the steady‐state anisotropy and average lifetime of the intrinsic tryptophan fluorescence occur, as well as a decrease in the rotational correlation time, from 48 to 26 nsec. In the same GdmCl range, the number of protein molecules (labeled with Alexa 488), as determined by two‐photon FCS measurements, increases by a factor of two, indicating dissociation of the tubulin dimer into monomers. From 1.5 to 4 M GdmCl, these monomers unfold, as evidenced by the continual decrease in the tryptophan steady‐state anisotropy, average lifetime, and rotational correlation time, concomitant with secondary structural changes. These results help to elucidate the unfolding pathway of the tubulin heterodimer and demonstrate the value of FCS measurements in studies on oligomeric protein systems.
Prediction of the odorant binding site of olfactory receptor proteins by human–mouse comparisons
Authors: Man Orna , Gilad Yoav , Lancet Doron
Published: December 2003

Olfactory receptors (ORs) are a large family of proteins involved in the recognition and discrimination of numerous odorants. These receptors belong to the G‐protein coupled receptor (GPCR) hyperfamily, for which little structural data are available. In this study we predict the binding site residues of OR proteins by analyzing a set of 1441 OR protein sequences from mouse and human. The central insight utilized is that functional contact residues would be conserved among pairs of orthologous receptors, but considerably less conserved among paralogous pairs. Using judiciously selected subsets of 218 ortholog pairs and 518 paralog pairs, we have identified 22 sequence positions that are both highly conserved among the putative orthologs and variable among paralogs. These residues are disposed on transmembrane helices 2 to 7, and on the second extracellular loop of the receptor. Strikingly, although the prediction makes no assumption about the location of the binding site, these amino acid positions are clustered around a pocket in a structural homology model of ORs, mostly facing the inner lumen. We propose that the identified positions constitute the odorant binding site. This conclusion is supported by the observation that all but one of the predicted binding site residues correspond to ligand‐contact positions in other rhodopsin‐like GPCRs.
Effect of multiple symmetries on the association of R67 DHFR subunits bearing interfacial complementing mutations
Authors: Dam Julie , Blondel Arnaud
Published: December 2003

It was shown previously that complementation could be a powerful mean to probe protein–protein interactions in the normally tetrameric R67 DHFR. Indeed, mixing complementing inactive dimeric mutants produced active heterotetramers. This approach turned a homo‐oligomer into a hetero‐oligomer and thus allowed the use of combinatorial assays, a subtle analysis of the association forces, and a precise determination of the equilibrium dissociation constants (KD) by titrimetry. However, for some of the complementing pairs, the experimental data implied multiple equilibria involving heterodimers, although no monomers could be detected. Thus, the reactions involved had to be identified to elaborate a suitable model to determine the KD of those pairs correctly. That model suggested that homodimers associated rapidly before the protomers could be redistributed in a multiple equilibrium system. Kinetic data confirmed that view. The association data at equilibrium were analyzed by multiple curve fitting with all plausible combinations of parameters. This gave a confidence interval for KD that is safer than the usual 67% or 90% confidence interval. Finally, the KD of one specific reaction, the dissociation of a heterotetramer with the relevant symmetry into two homodimers could be determined with the relevant model for each complementing pair, although multiple equilibria were present. These KD can thus be used as a set of references data to test and improve theoretical methods such as association free energy calculations.
Are protein–protein interfaces more conserved in sequence than the rest of the protein surface?
Authors: Caffrey Daniel R. , Somaroo Shyamal , Hughes Jason D. , Mintseris Julian , Huang Enoch S.
Published: December 2003

Protein interfaces are thought to be distinguishable from the rest of the protein surface by their greater degree of residue conservation. We test the validity of this approach on an expanded set of 64 protein–protein interfaces using conservation scores derived from two multiple sequence alignment types, one of close homologs/orthologs and one of diverse homologs/paralogs. Overall, we find that the interface is slightly more conserved than the rest of the protein surface when using either alignment type, with alignments of diverse homologs showing marginally better discrimination. However, using a novel surface‐patch definition, we find that the interface is rarely significantly more conserved than other surface patches when using either alignment type. When an interface is among the most conserved surface patches, it tends to be part of an enzyme active site. The most conserved surface patch overlaps with 39% (± 28%) and 36% (± 28%) of the actual interface for diverse and close homologs, respectively. Contrary to results obtained from smaller data sets, this work indicates that residue conservation is rarely sufficient for complete and accurate prediction of protein interfaces. Finally, we find that obligate interfaces differ from transient interfaces in that the former have significantly fewer alignment gaps at the interface than the rest of the protein surface, as well as having buried interface residues that are more conserved than partially buried interface residues.
The N‐terminal domain (IF2N) of bacterial translation initiation factor IF2 is connected to the conserved C‐terminal domains by a flexible linker
Authors: Laursen Brian Søgaard , Kjærgaard Anne Cecillie , Mortensen Kim Kusk , Hoffman David W. , Sperling‐Petersen Hans Uffe
Published: December 2003

Bacterial translation initiation factor IF2 is a multidomain protein that is an essential component of a system for ensuring that protein synthesis begins at the correct codon within a messenger RNA. Full‐length IF2 from Escherichia coli and seven fragments of the protein were expressed, purified, and characterized using nuclear magnetic resonance (NMR) and circular dichroism (CD) methods. Interestingly, resonances of the 6 kD IF2N domain located at the extreme N terminus of IF2 can be clearly identified within the NMR spectra of the full‐length 97‐kD protein. 15N NMR relaxation rate data indicate that (1) the IF2N domain is internally well ordered and tumbles in solution in a manner that is independent of the other domains of the IF2 protein, and (2) the IF2N domain is connected to the C‐terminal regions of IF2 by a flexible linker. Chemical shifts of resonances within the isolated IF2N domain do not significantly differ from those of the corresponding residues within the context of the full‐length 97‐kD protein, indicating that IF2N is a structurally independent unit that does not strongly interact with other regions of IF2. CD and NMR data together provide evidence that Domains I–III of IF2 have unstructured and flexible regions as well as substantial helical content; CD data indicate that the helical content of these regions decreases significantly at temperatures above 35°C. The features of structurally well‐ordered N‐ and C‐terminal domains connected by a flexible linker with significant helical content are reminiscent of another translation initiation factor, IF3.
Effect of the N3 residue on the stability of the α‐helix
Authors: Iqbalsyah Teuku M. , Doig Andrew J.
Published: December 2003

N3 is the third position from the N terminus in the α‐helix with helical backbone dihedral angles. All 20 amino acids have been placed in the N3 position of a synthetic helical peptide (CH3CO‐[AAX AAAAKAAAAKAGY]‐NH2) and the helix content measured by circular dichroism spectroscopy at 273 K. The dependence of peptide helicity on N3 residue identity has been used to determine a free energy scale by analysis with a modified Lifson‐Roig helix coil theory that includes a parameter for the N3 energy (n3). The most stabilizing residues at N3 in rank order are Ala, Glu, Met/Ile, Leu, Lys, Ser, Gln, Thr, Tyr, Phe, Asp, His, and Trp. Free energies for the most destabilizing residues (Cys, Gly, Asn, Arg, and Pro) could not be fitted. The results correlate with N1, N2, and helix interior energies and not at all with N‐cap preferences. This completes our work on studying the structural and energetic preferences of the amino acids for the N‐terminal positions of the α‐helix. These results can be used to rationally modify protein stability, help design helices, and improve prediction of helix location and stability.
The Returns to Education: Microeconomics
Authors: Harmon Colm , Oosterbeek Hessel , Walker Ian
Published: December 2003

In this paper we focus on education as a private decision to invest in “human capital” and the estimation of the rate of return to that private investment. While the literature is replete with studies that estimate the rate of return using regression methods where the estimated return is obtained as the coefficient on a years of education variable in a log wage equation that contains controls for work experience and other individual characteristics, the issue is surrounded with difficulties. We outline the theoretical arguments underpinning the empirical developments and show that the evidence on private returns to the individual is compelling. Despite some of these issues surrounding the estimation of the return to schooling, our evidence, based on estimates from a variety of datasets and specifications, is that there is an unambiguously positive effect on the earnings of an individual from participation in education. Moreover, the size of the effect seems large relative to the returns on other investments.
The Law and Economics of Marriage Contracts
Authors: Smith Ian
Published: December 2003

Growth in property ownership has raised the stakes in the distribution of financial assets on divorce. Given high risks of marital failure, this has stimulated the demand for private ordering through enforceable marriage contracts. This paper surveys the existing law and economics literature and legal practice to consider the state of knowledge on the economic theory, scope and limits of written nuptial agreements.
Describing Narrative in Gentile Bellini’s Procession in Piazza San Marco
Authors: Rodini Elizabeth
Published: December 2003

Gentile Bellini’s Procession in Piazza San Marco, painted in 1496 for the Scuola Grande di San Giovanni Evangelista in Venice, was one of a series of canvases produced for the Scuola to commemorate the miraculous workings of its relic of the True Cross. Although the Cross was the protagonist of these events, Bellini’s composition elides the relic that here performs an act of healing. Instead, a meticulously rendered view of the basilica of San Marco dominates the visual field. Noting how setting here takes centre stage, this article shifts attention away from tales of miraculous intervention to explore the possibility of a distinct and visually ordered narrative. Indeed, the rich detailing of Bellini’s work presents a story bound in materiality: San Marco, as a Byzantinizing structure studded with eastern booty and built to house the appropriated bones of St Mark, emblemizes Venetian claims over Levantine goods, a discourse in which the relic of the True Cross was also a vibrant participant. The descriptive surface of Bellini’s painting reveals the connections between these various objects, setting forth an ideologically charged narrative of Venetian authority that is lodged not in pre‐existing miracle tales but in the pictorial intricacies of the canvas itself.
‘Gross Material Facts’: Sexuality, Identity and the City in Walter Sickert, 1905—1910
Authors: Corbett David Peters
Published: December 2003

Sickert’s painting between 1905 and 1910 imagines the character of city experience within modernity through an explicit and programmatic depiction of the sordid character of urban lives, above all those of working‐class women. These lives and their surroundings stand for the incomprehensibility and alienness of modernity, and Sickert attempts to cope with this perception by subjecting his models to the gaze of a ‘dispassionate observer’, the painter whose material control of his subjects on the surface of the canvas mimes his desired comprehension of modernity. The article argues that this project is visibly unsustainable in the works themselves where the figure of the male artist as dispassionate and controlling observer is insidiously undermined and his powerlessness before the spectacle of women, the city, and modernity is confessed. Sickert is sceptical about the imposition of authority even as he is eager to impose it, and his works at this period distil a modernist irony out of this historical problematic.
Rethinking the Ruthwell Monument: Fragments and Critique; Tradition and History; Tongues and Sockets
Authors: Orton Fred
Published: December 2003

The ‘Ruthwell Cross’, put together from fragments between 1802 and 1823 by Reverend Henry Duncan and reconstructed in the church at Ruthwell (Dumfries) in 1887, is generally accepted as one of the most important sculptural survivals from Anglo‐Saxon Britain and arguably from early medieval Europe. The monument is made of several peculiarities or anomalies which, seen and understood as they are here, confirm Duncan’s assumption that it had, ‘since its first erection, undergone a great change; that it consisted at first only of one block … the upper stone containing the cross having been added at a later period.’ The oral history or ‘common tradition’ seems also to confirm this. Documents provided by the mason who moved the monument into the church indicate something of its construction and how it was amended in the nineteenth century with the addition of at least one of its two joints ‘made in the most approved masonic form with a socket and a tongue’. It remains a moot point as to whether the Ruthwell Monument came together entire in the Anglo‐Saxon period or subsequently. What has to be insisted on and puzzled is its composite character as a column and a cross.
An Episode of Cultural Politics during the Weimar Republic: Aby Warburg and Thomas Mann Exchange a Letter Each
Authors: Schoell‐Glass Charlotte
Published: December 2003

In this article an exchange of letters is published between Aby Warburg in Hamburg and Thomas Mann, in Munich in 1926, and between the exiles Gertrud Bing in England and Thomas Mann in Pacific Palisades, California, in 1941. These letters are placed in their respective contexts: the activities of the Kulturwissenschaftliche Bibliothek Warburg in Hamburg, later the Warburg Institute, Thomas Mann’s work (particularly the first Joseph novel and Doktor Faustus), and their specific political backgrounds. At best episodic in character, these exchanges are indicative of the tragedy of German ‘cultural politics’ of the 1920s.
‘Putrefying Individuality’: Picasso’s Masks
Authors: Cox Neil
Published: December 2003

William Rubin (ed), Picasso and Portraiture: Representation and Transformation

Jonathan Brown (ed), Picasso and the Spanish Tradition
Performing the Bridal Body in Fifteenth‐Century Florence
Authors: Randolph Adrian W. B.
Published: December 2003

Culture constructs stages for the performance of the body. One of the ways in which those stages are erected is though somatic ornamentation. This essay focuses on the extraordinarily expensive and elaborate jewels bestowed upon brides in fifteenth‐century Florence. Adducing family record books, sumptuary legislation, as well as religious and secular symbolic attitudes toward body decoration, this study documents how jewels functioned in the economic and symbolic exchanges then constituting marriage. Moreover, it links the jewels to those seen in a broad variety of visual arts. Seen not only as supplemental decoration, marital jewels are construed as beacons defining the limits of the performed bridal body.
Migrant Travellers and Tourist Idylls: The Paintings of Jack B. Yeats and Post‐colonial Identities
Authors: Cusack Tricia
Published: December 2003

Travellers of various kinds have long been a salient feature of Irish society. Whether tinkers, tramps, seasonal workers or emigrants, they occupied positions outside an increasingly settled and bourgeois population. Their histories are contested and inevitably bound up with colonialism. This article considers how the figures of travellers in landscape depicted in Jack B. Yeats’s paintings of the 1930s–50s might be related to the constitution of national and cultural identities in Ireland in the post‐colonial period. Particular attention is given to Yeats’s own marginal position as Anglo‐Irish.

As the representation of landscape, imagined with its `natural’ inhabitants, contributes to the construction of national and cultural identities, colonialism produces contesting, and sometimes ambivalent, representations of the land and its occupants. In a period of social change and ‘re‐positioning’ for both the Irish and Anglo‐Irish, Yeats’s travellers are found to be located within the rural idyll of ‘Gaelic Ireland ’ rather than the rural idyll of anglicized Ireland/England. However, I propose that they do not quite form part of this idyll. Furthermore, the depiction of both travellers and landscape is seen to be ambivalent, questioning the security of Yeats’s relation to the ‘Irishness ’ represented.

I suggest that the figure of the traveller cannot be isolated from anti‐modern discourses of poetic wandering originating outside Ireland. Yeats’s landscape represents a touristic idyll marked as ‘Irish ’ but also as Utopian and timeless. The viewer’s imagined occupancy of the role of tourist–traveller in this idyll is disturbed however by Yeats’s depiction of the traveller as unromanticized, poor and migrant. In post‐colonial Irish culture, the figure of the traveller accumulated diverse connotations associated with the needs for identity and identification generated by cultural shifts towards national definition and exclusions, as well as by the ongoing changes of modernity.
On the Margins of Discourse? Visions of New Soviet Woman in Socialist Realistic Painting 1949–50
Authors: Simpson Pat
Published: December 2003

This paper questions the marginalization of representations of women implied by the emphasis on New Man as signifier of Soviet identity in critical revisions of the Socialist Realist canon 1949–50. The approach, partly informed by feminist critical theory and pluralist, rather than totalitarian, models of Stalinist power, also engages critically with marginalizing tendencies in some recent histories. It suggests the existence of a significant discursive practice regarding the imaging of women, based on a concept of beauty defined by the patriotism and ‘partiinost ’ of the image when viewed in relation to currently dominant constructs of gender role and nationality.

Discussion focuses on two pairs of paintings by Sergei Gerasimov and the Ukrainian Tatiana Yablonskaya – one pair delegitimated, the other pair legitimated during the period. The argument examines the differences between the visions of New Soviet Woman offered by the delegitimated and legitimated paintings, offering a speculative reading of the constitution and implications of the legitimated images of peasant women. These are suggested to embody active participation in reinforcing complex patriarchal mythologies – of ‘Mother Russia ’; Soviet woman as mother; the peasant as female and Ukrainians as peasants.
Reflecting on Sculpture as Theatre
Authors: Herding Klaus
Published: December 2003

David Bindman and Malcolm Baker. Roubillac and the Eighteenth‐Century Monument. Sculpture as Theatre
Common Ground?
Authors: Cairns Jon
Published: December 2003

Thomas Crow. Modern Art in the Common Culture

Brandon Taylor. The Art of Today

Edward Lucie‐Smith. Art Today
Turning Spatial
Authors: Highmore Ben
Published: December 2003

Victor Burgin. In/Different Spaces: Place and Memory in Visual Culture

Victor Burgin. Some Cities

Rosalyn Deutsche. Evictions: Art and Spatial Politics
Men Before the Mirror: Duchamp, Man Ray and Masculinity
Authors: Hopkins David
Published: December 2003

This article examines the extent to which two of Duchamp’s readymades, Fountain (1917) and the textual readymade ‘Men Before the Mirror’ (1934), deal with questions of male psychology and subjectivity.

The bulk of the essay is taken up with an analysis of the complexities of ‘Men Before the Mirror’, a text which, in the past, was thought ot have been appropriated by Duchamp from a female friend of Man Ray, and then signed by him using the name of his female alter ego, Rrose Sélavy.

It is argued that the authorial ‘voice’ in this text is, in fact, remarkably close to that of Duchamp himself, given the wider range of his thematic preoccupations.

Simultaneously arguing against the view that the gender switches of Duchamp/Rrose Sélavy can be read as deconstructive of socially inscribed gender positions, the article seeks to establish that the relationship of Duchamp’s/Rrose’s text to the photographs by Man Ray that accompany it in its original published context, reveal fundamentally masculine or ‘homosocial’ concerns. These in turn help to clarify the underlying dynamics of Duchamp’s and Man Ray’s relationship.
Ford Madox Brown, Carlyle, Macaulay and Bakhtin: The Pratfalls and Penultimates of History
Authors: Codell Julie F.
Published: December 2003

Ford Madox Brown’s Manchester Town Hall mural series was the site of late Victorian contentions about both history and history painting. A long‐standing discourse of history, represented in Manchester’s many local histories and guidebooks, debated the ‘facts’ and significance of Manchester’s history and contributions to British history. Brown’s murals participated in this debate at the very moment of the city’s new emergence as an independent municipality with its own self‐government and new rebuilding projects.

Brown’s murals commented on this discourse through imagery and the accompanying narratives he wrote. Unlike his earlier narratives for paintings, these narratives were not about Brown’s ideas and intentions. Instead, they incorporated the new historical language of satire, displacement and factual ambiguity. Brown was an avid reader of Carlyle and Macaulay who, despite their differences, shared innovative methods; a criticism of cause and effect; and a focus on quotidian, collective, and anonymous actors and motives. Brown employed their methods, including passages from Carlyle’s French Revolution, to satirize official history. His selection of ‘minor’ details and figures foregrounded the selection process itself and problematized historical content, as did Carlyle’s and Macaulay’s methods.

Brown’s relationship to history painting, however, was not satirical. He admired Dyce, Maclise and the German Nazarenes without imitating their idealism. Brown eschewed high seriousness, diluted important events with banal incidents, put crucial events in the street rather than the court, and juxtaposed ‘heroes’ with anonymous passers‐by to interrogate notions of idealism and heroism. Respectfully quoting Maclise’s works through visual reversals, Brown conveyed his own `reversal’ away from idealism toward the revisionism of Carlyle and Macaulay.

The murals authored and authorized Manchester history. Bakhtin’s themes of the carnival, novelization, surprise and the ‘word with a loophole’ illuminate how the murals forged a new civic history built on collectivity, working‐class contributions, and corporate capital. Radical in his support for the working class, Brown was also nationalistic in his expression of Manchester’s English pedigree and mercantile hegemony. His murals express innovations and contradictions in their melding of Manchester history into broader Victorian discourses of history, history painting, British hegemony and the Empire, while offering criticism of cherished Victorian ideals and revealing the depths of Brown’s own intellectual comprehension of changing Victorian notions of history.
Lust in Hogarth’s Sleeping Congregation– Or, How to Waste Time in Post‐Puritan England
Authors: Krysmanski Bernd W.
Published: December 2003

The intention of this essay is to explore the complex literary and pictorial background to William Hogarth’s engraving The Sleeping Congregation (1736) in order to deepen our understanding of its satirical point. The print ironically castigates three faults of the Anglican Church of the time: boring sermons (which put everyone to sleep), lewd feelings in places of worship, and the sorry state of Church art. The essay suggests, however, that the overriding theme of the engraving is Hogarth’s post‐Puritan view of the old vice of Acedia, or indolence. The print, in Hogarth’s typical irony, updates a long pictorial tradition of sleep in church during a sermon; sleep, the characteristic mark of indolence connected with lustful thoughts, a vice with which a hard‐working member of the rising middle class like Hogarth would have had little patience.
In the Blind Field: Hopper and the Uncanny
Authors: Iversen Margaret
Published: December 2003

Freud’s concept of the uncanny is used in this article to interpret Hopper’s paintings and to explain why they appear to have a double valence – at once nostalgic and threatening. The famous House by the Railroad (1925), for example, is often thought to depict a forlorn remnant of an outmoded America, yet it also served as the model for the Old Bates House in Hitchcock’s Psycho. First, several modalities of the uncanny – doubles, traumatic encounters with death, life‐like dolls and haunted houses – are explored in relation to Hopper’s characteristic motifs. But this attention to subject matter is later supplemented by an inquiry into the formal uncanniness of Hopper’s compositions. Here the notion of the ‘blind field’, a concept borrowed from film theory, is proposed. Both film stills and Hopper’s paintings suggest that the centre of gravity is invisible, outside the frame, either spatially or temporally. The blind field incites our desire to see, animates the picture, and makes the old house look back at us. The ambivalence of the uncanny object, both familiar and unfamiliar, was recently demonstrated by Rachel Whiteread’s House. It was perceived both as a monument to some mythical homogeneous East End community and, especially in view of the controversy it sparked, as a ghostly reminder of the area’s bitter history of racial hatred. While nostalgia assumes that the past is safely lost, the uncanny shows how it can erupt unbidden in the present.
Negotiating Models of Feminist Research
Authors: Deepwell Katy
Published: December 2003

R. Betterton (ed.), An Intimate Distance: Women Artists and the Body

J. A. Isaak (ed.), Feminism and Contemporary Art: The Revolutionary Power of Women’s Laughter

Griselda Pollock (ed.), Generations and Geographies in the Visual Arts: Feminist Readings

Dinah Dysart and Hannah Fink (eds.), Asian Women Artists

Gayatri Sinha (ed.), Expressions & Evocations: Contemporary Women Artists of India

Anna Voigt (ed.), New Visions, New Perspectives: Voice of Contemporary Australian Women Artists
Did the Renaissance have a Renaissance?
Authors: Dunlop Anne
Published: December 2003

John T. Paoletti and Gary M. Radke, Art in Renaissance Italy

A. Richard Turner, The Renaissance in Florence: The Birth of a New Art

Hermann Voss (trans. Susanne Pelzel), Painting of the Late Renaissance in Rome and Florence I: From the High Renaissance to Mannerism 1520–1570

Evelyn Welch, Art and Society in Italy 1350–1500
Revisiting the Life of Guido Reni
Authors: Landrus Matt
Published: December 2003

Richard Spear, The ‘Divine’ Guido: Religion, Sex, Money and Art in the World of Guido Reni
Patterns in the Shadows: Attention in/to the writings of Michael Baxandall
Authors: Holly Michael Ann
Published: December 2003

This essay reads the collected works of Michael Baxandall as an exercise in the melancholy of art history writing. His fascination with the gap between words and images, historical scholarship and early modern works of art has implications for a general postmodern malaise: why do those of us who write about the past still cling to the hope that historical meaning can be discovered, even as we recognize the absolute futility of finding out where? The elegiac paradox of having to write about an absent past through the enduring material presence of works of art has engendered Baxandall’s very distinctive historiographic approach. The visual arts demand different modes of attention (a key concept in each of his texts) than other historical artefacts. This awareness, I argue, has provided the rationale for Baxandall’s unique focus on the variety of contexts that shadow works of art.
‘What Do You Represent?’ When Titles Do Not Say and Pictures Do Not Show
Authors: Corris Michael
Published: December 2003

Briony Fer, On Abstract Art

John C. Welchman, Invisible Colors: A Visual History of Titles
Double Indemnities
Authors: Quinn Malcolm
Published: December 2003

Juliet Steyn, Other than identity. The subject, politics and art
Ingres's Second Madame Moitessier: ‘Le Brevet du Peintre d'Histoire’
Authors: Betzer Sarah
Published: December 2003

Despite their ubiquity throughout his career, Ingres's portraits of women are generally understood to stand outside of, and in opposition to, the artist's academic practices and priorities. An examination of Ingres's Portrait of Madame Moitessier (1856) suggests rather that the portraiture lay at the crux of Ingres's particular relation to ‘nature’ and the ‘ideal’. Portrait‐making, with its attendant demands for verisimilitude and the insistent presence of the sitter's own body and desires, presented a challenge for the history painter, whose work was based upon a process of distillation from the studio model. And, while the portrait genre had long been haunted by the imagined threat of artistic servitude, Ingres responded to the problem of invoking the specificities of the sitter by simultaneously effecting her translation towards the general and by painting the portrait as history. In painting the portrait of Madame Moitessier in such terms, Ingres demonstrated how artistic practices and commitments which are generally understood to be mutually exclusive were instead, for Ingres, profoundly imbricated. Through an excavation of the processes and techniques used in the creation of the portrait of Madame Moitessier, this article argues that portraiture is the place to understand Ingres's notion of ‘history painter’ as something other than simply ‘painter of history‘.
Ingres in Reproduction
Authors: Bann Stephen
Published: December 2003

One aspect of the historiography of nineteenth‐century art has been the virtual exclusion from serious attention of the reproductive engravings that played such an important role in establishing the reputations of the painters of the period. Benjamin's well‐known essay on ‘The Work of Art in the Age of Mechanical Reproduction’ has led to a disproportionate emphasis on the importance of lithography and photography as harbingers of a new age, and perhaps incidentally helped to exclude from consideration those photographers specializing in the reproduction of paintings, who could be considered to be in direct rivalry with the engravers. The significant investment which Ingres had in the reproduction of his works becomes much clearer when we look closely at his long and friendly relationship with the Italian engraver Luigi Calamatta. This article uses published and unpublished material relating to Calamatta and other engravers to clarify the point that Ingres was continually preoccupied with the need to have his work engraved, but unable to ensure the results that he desired – partly because each new print offered the possibility of amending a previous composition, and partly because he did not succeed in establishing a strong relationship with a dealer such as Goupil. Ingres's relation to lithography is also considered, in relation to his own practice and that of the lithographer Sudre, who reproduced some of his works. Finally, the contribution of contemporary photographers to the reproduction of Ingres's work is summarised, with special emphasis on his mixed experiences with the most acclaimed reproduction photographer of the day, the Englishman Robert Jefferson Bingham.
Ingres versus Delacroix
Authors: Shelton Andrew Carrington
Published: December 2003

This article offers a reassessment of the origins and early history of the legendary rivalry between Jean‐Auguste‐Dominique Ingres and Eugène Delacroix. It argues that this dichotomy, which perpetuated the age‐old polarity of line versus colour in conventional French Academic theory, did not arise from the dramatic confrontations of the two artists' works at the Salons of 1824 and 1827–28, as is commonly assumed; rather, it emerged more fitfully over the course of the 1830s and 1840s. This belated and essentially retrospective personalization of the by‐then rather hackneyed and clichéd neoclassicism‐versus‐Romanticism debate is attributed to the emergence of a media‐driven cult of artistic celebrity and to the increasing politicization of the form– as well as the content – of cultural discourse in post‐Revolutionary, post‐Imperial France.
Le Violon d'Ingres: Man Ray's Variations on Ingres, Deformation, Desire and de Sade
Authors: Powell Kirsten Hoving
Published: December 2003

Le Violon d'Ingres is a complex photograph that demonstrates Man Ray's long‐standing admiration for Ingres, as well as his desire to mock tradition. Man Ray's distortion and deformation of the model's body engage Surrealist concepts of metamorphosis and formlessness, but they also belong to a larger context of fascination for Ingres's manipulations of anatomy during the interwar period, as seen in the writings of critics such as André Lhote. The revolutionary nature of Ingres's distortions of the female body had parallels in the social distortions found in the writings of Sade, whom Man Ray and his Surrealist colleagues deeply admired.
Ingres as a Blasted Allegory
Authors: Kleinfelder Karen L.
Published: December 2003

John Baldessari's concept of ‘blasted allegory’ forms the theoretical framework for a discursive reading of how Ingres has been revisioned by four twentieth‐century artists: Pablo Picasso, who pays an ironic homage to the Old Master in his 1918 painting of Bathers; Cindy Sherman, who associates Ingres with the abject in her 1989 history portrait; Calum Colvin, who restages the Bain turc as a kitsch palace in his 1986 photo‐construction; and Kurt Kauper, whose 1996–99 suite of paintings entitled Diva Fictions use a seduction of the signs to destabilize gender – imagine Ingres as a drag queen. These four case studies are looked at as a form of historiography, but what unfolds is perhaps better labelled hysteria‐graphy since Ingres emerges as an hysterical discourse in the form of a ‘blasted allegory’. What gets ‘blasted’ is any notion of a monolithic definition or mastery of what all Ingres has come to signify within the context of twentieth‐century art practices and their critical receptions. Both elevated and derided as the epitome of ‘high culture’, a return to Ingres is cast as reactionary (Picasso) and cutting‐edge (Sherman and Colvin), and sometimes cutting‐edge precisely because it is reactionary, and thus transgressive (Kauper and Picasso). Read in these opposing ways, the twentieth‐century Ingres ends up a ‘blasted allegory’ with no singular, coherent truth.
Absent Love in Pleasure Houses. Frederick II of Prussia as art collector and patron
Authors: Vogtherr Christophe Martin
Published: December 2003

This article examines Sanssouci Palace in Potsdam as a major example of the art collecting and patronage of Frederick II of Prussia. Depictions of love and displays of erotic bodies are analysed in terms of an arrangement – in parts deliberate – that comments on different concepts of love and eroticism. At Sanssouci, Frederick combined a variety of erotic images, mainly of women, with groups of works that reflect on unfulfilled love or express his longing for romantic male love.
Shopping the Leftovers: Warhol’s Collecting Strategies in Raid the Icebox I
Authors: Bright Deborah
Published: December 2003

Andy Warhol’s little‐known commission in 1969 to ‘curate’ an exhibition from basement storage at the Museum of Art at the Rhode Island School of Design opens a window on the artist’s complex attitudes toward class. While the many manifestations of Warhol’s queer aesthetic have been illuminated in recent scholarship, little attention has been paid to how his sensibility was also shaped by his working‐class roots in the slavic enclave of Depression‐era Pittsburgh. While Warhol created a uniquely ‘cool‘ persona in the New York art world, he never repudiated his background and its values. His writings, from Popism and The Philosophy to the Diaries, are full of sharp insights on American class politics and aspirations. One can see in Warhol’s signature elevation of icons of mass consumption to the status of art and in his treatment of high subjects as mass products a radical proletarianizing will. Raid the Icebox I shows Warhol’s levelling aesthetic in its full glory as he makes a series of curatorial selections that directly assault the principles of connoisseurship that undergirded professional museum practice. Twenty years before postmodern artists would view the museum as a context for critical ‘reinstallations’, Warhol’s Raid the Icebox– the only such intervention he ever made – profoundly disrupted museum decorum by exposing the usually well‐concealed links between elite collecting and its low‐class other – shopping.
Mapplethorpe’s Living Room: Photography and the Furnishing of Desire
Authors: Meyer Richard
Published: December 2003

This essay analyses the descriptions (and distortions) of Robert Mapplethorpe’s photography put forward by Senator Jesse Helms during the controversy over The Perfect Moment (a full‐scale retrospective of Mapplethorpe’s work) in 1989. It argues that Helms’s attacks on Mapplethorpe’s life and work open onto a broader set of fears and fantasies about homosexuality.

After examining some of the key contradictions in Helms’s discourse, the essay turns to a contemporaneous event concerning Mapplethorpe: the sale of his collection of art and furniture by Christie’s auction house in October 1989. Christie’s cleverly marketed `The Robert Mapplethorpe Collection’ by suggesting a link between the bodies Mapplethorpe photographed and the objects he collected, between the forbidden appeal of Mapplethorpe’s art and the eclectic array of his belongings. In so doing, Christie’s capitalized upon the public controversy in which the name ‘Mapplethorpe’ was embroiled at the time. But Christie’s also revealed, however unwittingly, something essential about Mapplethorpe’s practice as both an artist and a collector. In both his photographs and in his private collection. Mapplethorpe has set a space for homosexual difference. And it was this space that Senator Helms and the morally upstanding citizens he claimed to represent could not abide.
Collecting men, or my next duchess
Authors: Rifkin Adrian
Published: December 2003

In a concluding paper to the conference of which these essays are the record, I argued that the question of collecting is one that we can both think anew.