Contents
Editorial - Christopher S. Wood: Source and trace
Whitney Davis: Climatic variability and pictorial oscillation
Milette Gaifman: Timelessness, fluidity, and Apollo’s libation
Beate Fricke: A liquid history: Blood and animation in late medieval art
Anne Dunlop: Drawing blood
Nicola Suthor: Guercino’s “wet” drawing
Dario Gamboni: Volcano equals head equals kiln equals phallus: Connecting Gauguin’s metaphors of the creative act
Mario Wimmer: On sources: Mythical and historical thinking in fin-de-siècle Vienna
Barbara Wittmann: A Neolithic childhood: Children’s drawings as prehistoric sources
Gabriele Guercio: The form of the indistinct: Picasso and the rise of “Generic Creativity”
Chiara Cappelletto: Trace and source in Walter Benjamin’s thought: About a polarity
Spyros Papapetros: Modern architecture and prehistory: Retracing The Eternal Present (Sigfried Giedion and André Leroi-Gourhan)
David Joselit: The readymade metabolized: Fluxus in life
Jorg Trempler: Catastrophes and their images: Event and pictorial act
Aurelie Verdier: Picabia’s quasi-name
Frank Fehrenbach: Impossibile: Bernini in Piazza Navona
Alexander Nemrov: The cauldron: Rubens’s Adoration of the Magi in Madrid
Remo Guidieri: De la nature du rite
Felix Duque: Via stellarum—via crucis: A philosophical approach to the Camino de Santiago
Marvin Trachtenberg: River, road, and anastrophic fountain
Alexander Nagel: Robert Smithson removed from the source
Robert Smithson: An interview (with a prologue by Irving Sandler; edited by Alexander Nagel)
Anna Begicheva: How I remember Tatlin (prefaced, translated, and edited by Natasha Kurchanova)
Francesco Pellizzi: Ruins and other remains: Shades of urban wilderness
D. Graham Burnett, Jac Mullen, and Sal Randolph: “Dearest E.”: Newly discovered documents linking British and Parisian activities relating to the Order of the Third Bird in the 1870s (The “Fascicle of E.”)