REPRODUCING ART, CULTURE, AND SOCIETY

In this conversation on art reproduction between the guest editors and experts in the field, Tom van der Molen and Liselore Tissen talk to Adam Lowe and Carlos Bayod Lucini on Factum Arte and the Factum Foundation.

Keywords: Reproduction / Factum / Art 

DOI doi.org/10.61299/ah134GHq

Abstract

This essay explores the politics of authenticity and reproduction through ‘mimesis’, the use of replicas, in the museum arena as it pertains to the year-long exhibition Knowing Cotton Otherwise at the Fashion for Good Museum in Amsterdam, from October 2022 – October 2023. Sustainability practices are explored with a specific focus on cultural sustainability. In this essay Fashion for Good Museum is highlighted as an example to discuss the topics of cultural sustainability, reproduction, mimesis, authenticity and cultural appropriation in museology. Cultural appropriation and reproduction are an increasingly prevalent occurrence within fashion and consumer culture, which has only accelerated in recent years due to the pervasiveness of the digital age (Wani et al. 2024). Incorporating a sociological approach, evidence compiled from personal conversations with collaborators from the exhibition, empirical observations of installations and a theoretical framework exploring theories of mimesis and cultural sustainability, this essay interrogates two case studies arguing how reproduction can encourage younger generations in the context of Amsterdam to reflect on their own consumer behaviours as future stakeholders in the fashion industry. Furthermore, it explores the methods for this, through the educational programme and toolkit Classroom of the Future: The Stories Behind Cotton and the installation by Dr Professor Sha’mira Covington, Curative, Confronting and Healing the Fashion-Industrial Complex. 

Keywords: Museums / Cultural Sustainability / Fashion / Reproduction / Authenticity  

Discipline: Museology, Sustainability, Education, Fashion Design 

DOI doi.org/10.61299/ae244THw

Abstract

One can read the creative and making processes in the plaster models left by the sculptor. Hans/Jean Arp and Mari Andriessen provide excellent examples in the Gipsotheek collection (Museum Beelden aan Zee). Although Andriessen and Arp had very different sculptural ideas, their creative and making methods were sometimes similar: working in models, reworking, taking parts they liked and reintegrating them into other models. Of course, they ended up with very different results. The plaster sculptures are mostly steppingstones on the way to a final sculpture. This emphasizes the flexibility of plaster as a material. In addition, plaster is also used by the sculptor to memorize the different stages of development. The remnants of plaster, the different states and stages of the making process, give us, the art historians, a plaster trail, not a trail of copies, but a plaster lineage of the sculpture.  

Keywords: Sculpture / 20th Century / Modernism / Technique / Creative processes 

Discipline: History of Sculpture and Museum Studies 

DOI doi.org/10.61299/re874VHe

Abstract

This conceptual theoretical essay explores how values are continually reproduced through communication and how they shape societal norms. Although we all reproduce values on a daily basis through our various communicative practices, the definitions and functions of values are frequently ambiguous and presupposed across disciplines. By drawing from communication science and social science literature, the essay reflects on the mechanisms of value reproduction, linking the process of value reproduction to issues of inclusion, exclusion, and identity. Because, what happens when we reproduce values? Who gets to reproduce and who gets to challenge the reproduction of values? Who gets included in this reproduction and who gets excluded? What is the role of media in the reproduction of values? And importantly, underlying all these questions, what exactly are values and why should we care about how we reproduce values ourselves? 

Keywords: Values / Social Norms / Inclusion / Exclusion / Communication 

Discipline: Communication Sciences, Social Sciences, and Critical Studies 

DOI doi.org/10.61299/ol348FHrt

Abstract

In recent years there has been a rise in tv-shows, movies and books which present an innovative approach to fictionalizing history, approaching period-drama through a more self-aware and contemporary lens. One of such works Dickinson (2019), created by Alena Smith, adapts both Emily Dickinson’s life and poetry in a genre-bending literary biopic for the silver screen. The show follows Emily, portrayed by Hailee Steinfeld, as she navigates life and her love for writing in an extremely constraining society. In addition, every episode engages with a different poem, which is included in the title and is used as a thematic template for the narration. This essay explores the different ways the show presents and engages with Dickinson's poetry thematically and visually, while drawing connections between the struggles faced by Emily as she finds her way as an artist and the society we live in today. 

Keywords: Biopic / Television / Poetry / Dickinson / Adaptation 

Discipline: Literature and New Media Studies 

DOI doi.org/10.61299/c_h833k0 

Abstract

In the spring of 1863, a man known by the name of Peter escaped from a plantation in Louisiana and found safety among Union soldiers encamped at Baton Rouge in the United States of America. Before being able to enlist in the military, he underwent an extensive medical examination which revealed that his back was heavily mutilated and filled with horrific scars. The photograph taken – later often referred to as ‘The Scourged Back’ – became proof of slavery’s brutality and was used by the abolitionists in their campaign to end slavery. The picture was reproduced many times and rapidly spread across the country. More than 160 years later, the image of Peter still provides a powerful imprint of the horrors of slavery and has formed the blueprint of a string of recently produced contemporary art works. This short essay centers three pivotal works by Victor Sonna, Arthur Jafa and Fabiola Jean-Louis that deal with this subject matter and discusses their potential in dealing with and transforming historical trauma.

Keywords: Trauma / Reproduction / Wounding / Fugitivity / Contemporary Art 

Discipline: Curatorial Practice and Art History 

DOI doi.org/10.61299/dr678IHq

Content warning: contains reproductions of violent images 

Best Paper Prize Winner (1/2) of the Third Edition of AMJournal

Abstract

Carel Joseph Fodor (1801-1860) was an avid art collector. When he died, at the age of 59, he had amassed an impressive collection of 161 paintings, 877 drawings and 302 prints, which he bequeathed to the city of Amsterdam. Since 1963 that collection has been part of the collection of the Amsterdam Museum. A conspicuous feature of Fodor’s collection is that he did not collect Old Master paintings. Old Master painters and their most famous works did enter the collection in another way: in reproduction. More specifically, by means of copies in a variety of mediums: painted and in print, but particularly drawn. Fodor’s collection forms an excellent case to explore the popularity of drawn reproduction in the 18th and 19th century. It offered collectors like Fodor the double joy of appreciating the skill of the copyist and the reference to the original painting. 

Keywords: Collecting / Copies / Drawings / Paintings / Fodor 

Discipline: Art History and Cultural History 

DOI doi.org/10.61299/ug243AHw

Abstract

The essay reveals the historical-political preconditions for the loss of original museum objects in Belarusian museums in the 19th and 20th centuries, such as their transfer to other state museums within the Russian Empire and later the USSR as part of internal cultural policy, as well as due to the outbreak of two world wars. After 1991, Belarus became an independent state that had to search for its national identity. Museums didn't stay away from these processes and actively participated in the retranslation of new ideas through their exhibitions. However, one of the main problems in presenting a holistic view of Belarusian history was the lack of real museum artifacts, which could serve as material proof, evidence of historical events and achievements of the ancestors. To solve this problem the museum community used reproductions to show a new image of Belarusian history and culture in local and state museums. 

Keywords: Belarusian National Identity / Exposition’s Formation / Absence of Artifacts 

Discipline: Belarusian History, Museum Studies, and World Heritage Studies 

DOI doi.org/10.61299/ui673SHe

Abstract

This essay explores how Christian tropes are reproduced in Black British rap music, focusing on the work of contemporary Black British hip-hop artists Stormzy and Dave. Using postmodern pastiche theory, the essay examines how the integration of biblical tropes, Christian themes, and gospel music within their songs, contributes to the simultaneous challenging and reconciliation of traditional Christian values with urban life experiences in a Black British context. Through analysis of Stormzy’s and Dave’s song lyrics, the essay demonstrates how these artists employ religious symbolism and sampling to navigate their identities as simultaneous Black British Christians and hip-hop artists. Ultimately, this ‘collage’ of religious and cultural references not only serves to modernize traditional religious expression but also positions these artists within a broader lineage of Black cultural perseverance, resistance, and self-fashioning. As such, this essay contributes to the discourse on cultural identity formation in hip-hop, highlighting how reproduction of Christian elements functions as both homage and self-determination. 

Keywords: Reproduction / Hip-Hop / Pastiche / Cultural Identity / Great Britain 

Discipline: Literary Studies and Cultural Analysis 

DOI ddoi.org/10.61299/rr463FHr

Best Paper Prize Winner (2/2) of the Third Edition of AMJournal

Abstract

This article examines how photography elevated Chinese architecture to the status of art in the early 20th century, focusing on Peking the Beautiful, a photography volume published by American photographer Herbert Clarence White in 1927. Despite its academic value, the book has received little scholarly attention. The study explores whether photography can be considered art and its role in shaping its subjects into art. Utilizing Hu Shih’s introduction and the book’s visual and textual content, the article analyses Peking the Beautiful from the perspectives of institutional recognition, aesthetic experience, semiotics, and ontology. It argues that the book, supported by cultural institutions and the photographer’s efforts, reframes Chinese architecture from mere craftsmanship to art, playing a crucial role in the heritagization of Chinese architecture.

Keywords: Photography / Beijing / Art Promotion / Heritage / Herbert Clarence White 

Discipline: Architectural History 

DOI doi.org/10.61299/tr896BGt

Abstract 

Via means of Ubisoft’s action-adventure videogame Assassin’s Creed II (2009) this essay aims to determine and explore the extent to which freedom can be experienced in both a philosophical and algorithmic sense. Focusing on three modes—narrative, exploratory, and tactical freedoms—this essay examines how games like Minecraft, Skyrim, and Halo Wars embody these freedoms and compares them with Assassin’s Creed II as the main case study. Through the philosophies of Hegel, Sartre, and Foucault, alongside contemporary computer science theories, the analysis highlights how player agency and game design can shape the experience of freedom or create the illusion of said freedom. The study ultimately demonstrates that while videogames offer varied expressions of freedom, they could also impose inherent constraints through coding and design. 

Keywords: Freedom / Ludology / Videogames / Assassin’s Creed II 

Discipline: Art History

DOI doi.org/10.61299/di456TEy

Abstract 

Museums internationally are using scents as a means of storytelling in their galleries, but a methodological process for developing olfactory reproductions - or historically informed scents - is still lesser known and valued. For the first time, this paper raises the importance of crafting intentional olfactory reproductions for the use in cultural heritage. It discusses how to streamline the process of commissioning olfactory reproductions with a scent designer and how to foster transparency of these productions to benefit visitor education. Insights for understanding aspects of transparency for olfactory reproductions and navigating their level of historical intent are gleaned from already established methodologies of heritage scent preservation. These young methodologies provide a framework for improving methods of olfactory storytelling within the field of cultural heritage. The Olfactory Reproduction Matrix presented in this paper compiles methodologies of heritage scent preservation into a table that acts as a practical tool for museum practitioners to use while developing olfactory reproductions in the setting of cultural heritage. 

Keywords: Olfactory Heritage / Olfactory Storytelling / Perfume / Reproductions 

Discipline: Olfactory Heritage and Museology 

DOI doi.org/10.61299/it356WQy

Essay 1

By Marian Markelo aka Okomfo Nana Efua (priestess/educator). She is a Winti priest and educator committed to preserving Afro-Surinamese heritage. She actively promotes heritage through education, art, and museum collaborations, fostering awareness of historical and spiritual traditions.  

Essay 2

By Boris van Berkum (visual artist). He is a contemporary visual Neo-artist who fuses styles and forms from various cultures and religions in his art. Through working with ceramics, bronze, and innovative materials, he combines traditional and modern techniques.

Essay 3

By Annemarie de Wildt (historian). She is a historian and Emiritus Amsterdam Museum curator, who has created 50+ exhibitions on topics like sex work and colonialism. She innovates museum collections and serves as vice chair of ICOM City Museums

Essay 4

By Markus Balkenbol (anthropologist). He is a senior researcher at the Meertens Institute. He is a social anthropologist working on colonial heritage and memory in the Netherlands. His recent publications include The Secular Sacred and Tracing Slavery. 

Essay 5

By Martje Onikoyi (Heritage student). She is a Reinwardt Academy graduate and Art History (pre-)master’s student, who explores museums' transformative roles, focusing on spiritual items and their communication to diverse audiences as a young heritage professional. 

Keywords: Kabra Mask / Heritage / Ritual Ceremonies

DOI doi.org/10.61299/ta236WRr

Collection object

In this round table five expert participants discuss the process and effects of reproductions in music, from their own perspectives and areas of expertise. 

Jasmijn Blom

Aka JACKA, is an upcoming house DJ based in Amsterdam with a passion for deep, melodic beats. Currently navigating the frustrating yet exciting journey of learning music production, she’s driven to create tracks that radiate her sense of and love for progressive house music.  

Yahaira Brito Morfe

A junior researcher in cultural analysis, freelance creative producer, talent coach and branding specialist. Since December 2023, she also works as a junior booker at Eighty5ive, a music consultancy agency in Rotterdam. Next to this she works as a hospitality manager at the music venue Tolhuistuin in Amsterdam.  

Kim Dankoor

International hip-hop researcher, media expert, and interviewer currently pursuing her PhD at Utrecht University. Her research focuses on the relationship between rap music consumption and young people’s self-perceptions in the Netherlands and the U.S. She also delves into the pivotal role of strip club dancers as gatekeepers within the Southern rap scene in the U.S. 

Darek Mercks

Professional recording/performing musician most known for his bass playing in indie electro band Pip Blom. The band has played festivals like Glastonbury, Reading and Best Kept Secret, and has found a second home in the UK. Darek also teaches bass, methodics and band coaching at the Conservatory of Amsterdam.  

Peter Peskens

A Dutch bass player, producer and all-round musician. He holds a degree from the Amsterdam Conservatory, and has made a prolific impact on the Dutch music scene both as a session player and as bass player in his own projects. He tours the globe with his main vocation Jungle by Night, as well as various other notable artists. 

Keywords: Music / Authenticity / Originality / Sampling 

DOI doi.org/10.61299/zn096VHs

Editor-in-Chief
Emma van Bijnen

Edition Guest Editors
Liselore Tissen
Tom van der Molen

Board of Editors
Emma van Bijnen
Judith van Gent
Vanessa Vroon-Najem
Norbert Middelkoop

External Board of Editors
The editorial board is supplemented by an extensive international external editorial board comprised of scholars from various academic fields and disciplines:
Pablo Ampuero Ruiz; Rowan Arundel; Sruti Bala; Markus Balkenhol; Christian Bertram; Stephan Besser; Carolyn Birdsall; Cristobal Bonelli; Pepijn Brandon; Petra Brouwer; Chiara de Cesari; Debbie Cole; Karwan Fatah-Black; Wouter van Gent; Sara Greco; Laura van Hasselt; Gian-Louis Hernandez; Pim Huijnen; Julian Isenia; Paul Knevel; Gregor Langfeld; Mia Lerm-Hayes; Virginie Mamadouh; Julia Noordegraaf; Esther Peeren; Gertjan Plets; Menno Reijven; Jan Rock; Noa Roei; Steven Schouten; Irene Stengs; Eliza Steinbock; Dimitris Serafis; Sanjukta Sunderason; Rebecca Venema; Tim Verlaan; Daan Wesselman; meLê yamomo; Mia You; Emilio Zucchetti

send us an email: journal@amsterdammuseum.nl