Emily Hage
Emily Hage is Associate Professor of Art History at Saint Joseph's University. She specializes in 20th-century European and American art with an emphasis on magazines. She has published on Dada art journals and Dadazines and punk zines from the 1970s, and her recent article in Art Journal analyzes Romare Bearden’s 1968 covers for Time and Fortune magazines. Her current book projects are Dada Magazines: The Making of a Movement and The Art of Fortune Magazine: 1930-1970
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Books by Emily Hage
Dada magazines made Dada what it was: diverse, non-hierarchical, transnational, and defiant of the most fundamental artistic conventions. This first volume entirely devoted to Dada periodicals retells the story of Dada by demonstrating the centrality of these graphically inventive, provocative periodicals: Dada, New York Dada, Dada Jok, and dozens more that began crossing enemy lines during World War I. The book includes magazines form well-known Dada cities like New York and Paris as well as Zagreb and Bucharest, and reveals that Dada continued to inspire art journals into the 1920s. Anchored in close material analysis within a historical and theoretical framework, Dada Magazines models a novel, multifaceted methodology for assessing many kinds of periodicals. The book traces how the Dadaists—Marcel Duchamp, Tristan Tzara, Dragan Aleksic, Hannah Höch, and many others—funded, compiled, printed, distributed, and exchanged these publications. At the same time, it recognizes the journals as active agents that engendered the Dada network, and its thematic, chronological structure captures the constant exchanges that took place in this network. With in-depth scrutiny of these magazines—and 1970s “Dadazines” inspired by them—, Dada Magazines is a vital source in the histories of art and design, periodical studies, and modernist studies..
Papers by Emily Hage
dialogue with San Francisco punk zines, and by linking these periodicals
with each group’s performances. For these artists and for punks, zines offered a shared, cheap, quick means of expression and communication. Their zines also show that periodicals have the potential to be dynamic sites, like performances, that foster cross-fertilization and interaction and productively hold in tension materiality and ephemerality, mediation and liveness. Indeed, we can understand them as performances in their own right.
Dada magazines made Dada what it was: diverse, non-hierarchical, transnational, and defiant of the most fundamental artistic conventions. This first volume entirely devoted to Dada periodicals retells the story of Dada by demonstrating the centrality of these graphically inventive, provocative periodicals: Dada, New York Dada, Dada Jok, and dozens more that began crossing enemy lines during World War I. The book includes magazines form well-known Dada cities like New York and Paris as well as Zagreb and Bucharest, and reveals that Dada continued to inspire art journals into the 1920s. Anchored in close material analysis within a historical and theoretical framework, Dada Magazines models a novel, multifaceted methodology for assessing many kinds of periodicals. The book traces how the Dadaists—Marcel Duchamp, Tristan Tzara, Dragan Aleksic, Hannah Höch, and many others—funded, compiled, printed, distributed, and exchanged these publications. At the same time, it recognizes the journals as active agents that engendered the Dada network, and its thematic, chronological structure captures the constant exchanges that took place in this network. With in-depth scrutiny of these magazines—and 1970s “Dadazines” inspired by them—, Dada Magazines is a vital source in the histories of art and design, periodical studies, and modernist studies..
dialogue with San Francisco punk zines, and by linking these periodicals
with each group’s performances. For these artists and for punks, zines offered a shared, cheap, quick means of expression and communication. Their zines also show that periodicals have the potential to be dynamic sites, like performances, that foster cross-fertilization and interaction and productively hold in tension materiality and ephemerality, mediation and liveness. Indeed, we can understand them as performances in their own right.
This session considers three case studies to convey the rich trajectory of art and magazines: Edward Hopper’s covers for the Wells Fargo Messenger, Mine Okubo’s drawings in Fortune magazine, and Saul Steinberg’s work for such publications as Life, Look, Sports Illustrated, and Time. The papers explore the origins of and motivations behind such commissions and analyzes the art as it was originally published in print, showing how advertisements, adjacent articles, and captions shaped the initial reception and understanding of the works.
The sometimes-incongruous juxtapositions of images, texts, and ads reveal a messy modernism in the making. They also offer a novel view of the convergence of financial, social, cultural, and political forces in 20th-century American history without the (often misleading) order afforded by hindsight. This session brings new works by both well-known and understudied artists to light and broadens the parameters of what is considered “modern” art. Spanning over half a century, it demonstrates the complex relationships among artists, corporations, and magazines in the 20th century.
Presenters and Topics:
Chair: Erika Doss – Professor of American Studies, University of Notre Dame; Rockwell Center Distinguished Fellow
Edward Hopper and the “Wells Fargo Way”
Leo G. Mazow -Louise B. and J. Harwood Cochrane Curator of American Art, Virginia Museum of Fine Arts
“Objectivity” in Wartime U.S.A.: Mine Okubo and Fortune Magazine
Emily Hage – Associate Professor of Art History, Saint Joseph’s University
Beyond The New Yorker: Saul Steinberg’s Other Magazine Commissions
Melissa Renn – Collections Manager, HBS Art and Artifacts Collection, Harvard Business School.
This session considers three case studies to convey the rich trajectory of art and magazines: Edward Hopper’s covers for the Wells Fargo Messenger, Mine Okubo’s drawings in Fortune magazine, and Saul Steinberg’s work for such publications as Life, Look, Sports Illustrated, and Time. The papers explore the origins of and motivations behind such commissions and analyzes the art as it was originally published in print, showing how advertisements, adjacent articles, and captions shaped the initial reception and understanding of the works.
The sometimes-incongruous juxtapositions of images, texts, and ads reveal a messy modernism in the making. They also offer a novel view of the convergence of financial, social, cultural, and political forces in 20th-century American history without the (often misleading) order afforded by hindsight. This session brings new works by both well-known and understudied artists to light and broadens the parameters of what is considered “modern” art. Spanning over half a century, it demonstrates the complex relationships among artists, corporations, and magazines in the 20th century.
Chair - Erika Doss
Speakers - Emily Hage, Leo Mazow, Melissa Renn