A Companion to American Art (eBook)

John Davis, Jennifer A. Greenhill, Jason D. LaFountain (Herausgeber)

eBook Download: EPUB

2015
John Wiley & Sons (Verlag)
978-1-118-54249-1 (ISBN)

Infos

A Companion to American Art presents 35 newly-commissioned essays by leading scholars that explore the methodology, historiography, and current state of the field of American art history.

• Features contributions from a balance of established and emerging scholars, art and architectural historians, and other specialists
• Includes several paired essays to emphasize dialogue and debate between scholars on important contemporary issues in American art history
• Examines topics such as the methodological stakes in the writing of American art history, changing ideas about what constitutes 'Americanness,' and the relationship of art to public culture
• Offers a fascinating portrait of the evolution and current state of the field of American art history and suggests future directions of scholarship

John Davis is Alice Pratt Brown Professor of Art at Smith College. His most recent book (co-authored with Sarah Burns) is American Art to 1900: A Documentary History (2009).

Jennifer A. Greenhill is Associate Professor of Art History, Criticism and Interpretive Theory at the University of Illinois, Urbana-Champaign. She is the author of Playing It Straight: Art and Humor in the Gilded Age (2012).

Jason D. LaFountain is Instructor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago.

Inhalt

List of Figures xi

Notes on Contributors xvii

Acknowledgments xxiii

Introduction: American Art History Now: A Snapshot 1
John Davis, Jennifer A. Greenhill, and Jason D. LaFountain

Part I Writing American Art History 13

Dialogue 15

1 A Conversation Missed: Toward a Historical Understanding of the Americanist/Modernist Divide 17
Joshua Shannon and Jason Weems

2 Response: Setting the Roundtable, or, Prospects for Dialogue between Americanists and Modernists 34
Jennifer L. Roberts

3 A Time and a Place: Rethinking Race in American Art History 49
Tanya Sheehan

Dialogue 69

4 On the Social History of American Art 71
Alan Wallach

5 Response: Our Cause Is What? 85
Robin Kelsey

6 The Maker's Share: Tools for the Study of Process in American Art 95
Ethan W. Lasser

Dialogue 111

7 The Problem with Close Looking 113
Martin A. Berger

8 Response: Look Away 128
Jennifer A. Greenhill

9 Looking for Thomas Eakins: The Lure of the Archive and the Object 146
Kathleen A. Foster

Dialogue 165

10 The Challenge of Contemporaneity, or, Thoughts on Art as Culture 167
Rachael Z. DeLue

11 Response: Writing History, Reading Art 183
Bryan Wolf

Part II Geographies: Rethinking Americanness 191

12 Teaching Across the Borders of North American Art History 193
Wendy Bellion and Mónica Domínguez Torres

13 An American Architecture? 211
Dell Upton

14 The Pacific World and American Art History 228
J.M. Mancini

15 "Home" and "Homeless" in Art between the Wars 246
Angela Miller

16 Pueblo Painting in 1932: Folding Narratives of Native Art into American Art History 264
Jessica L. Horton and Janet Catherine Berlo

17 US American Art in the Americas 281
Mary K. Coffey

18 Geography Lessons: Canadian Notes on American Art History 299
Frances K. Pohl

19 Only in America: Exceptionalism, Nationalism, Provincialism 317
John Davis

20 Monolingualism, Multilingualism, and the Study of American Art 336
Jason D. LaFountain

Part III Subjectivities 357

21 Painters and Status in Colony and Early Nation 359
Susan Rather

22 Pantaloons vs. Petticoats: Gender and Artistic Identity in Antebellum America 378
Sarah Burns

23 Male or Man?: The Politics of Emancipation in the Neoclassical Imaginary 395
Charmaine A. Nelson

24 Drawing Boundaries, Crossing Borders: Trespassing and Identity in American Art 414
Randall R. Griffey

25 Lookout: On Queer American Art and History 433
Richard Meyer

26 From Nature to Ecology: The Emergence of Ecocritical Art History 447
Alan C. Braddock

27 Art History as Collage: A Personal Approach 468
David M. Lubin

Part IV Art and Public Culture 487

28 Material Religion in Early America 489
Louis P. Nelson

29 Issues in Early Mass Visual Culture 507
Michael Leja

30 Patrons, Collectors, and Markets 525
John Ott

31 Historicism in the American Built Environment 544
Kevin D. Murphy

32 The Painting of Urban Life, 1880-1930 562
David Peters Corbett

33 Photography and Opium in a Nineteenth-Century Port City 581
Anthony W. Lee

34 Value in the Vernacular 599
Leo G. Mazow

35 Realism under Duress: The 1930s 617
Andrew Hemingway

Index 637

Rezensionen

"Art historians will greet this stimulating series of companions to art history, of which this volume is the eighth, with enthusiasm." (Reference Reviews, May 2016)

Textauszug

List of Figures

1.1	Jackson Pollock, Full Fathom Five, 1947.

3.1	Henry Ossawa Tanner, Daniel in the Lions’ Den, 1907–18.

3.2	Rea Irvin and Seth, Eustace Tillarobama, New Yorker cover, February 11 and 18, 2008.

3.3	Kara Walker, The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, 1995.

3.4	Blinky Palermo, Untitled (wall painting), 1970.

6.1	Chest of drawers with doors, Boston, 1650–70.

6.2	Chest of drawers with doors, Boston, 1650–70, detail.

6.3	Bonnin and Morris, picklestand, 1770–72.

6.4	Drawer fronts, high chest, Philadelphia, 1760–65, detail.

6.5	Carved box, New England, 1660–90.

7.1	Andy Warhol, Pink Race Riot, 1963.

7.2	Andy Warhol, Collage, source for Warhol’s 1963 Race Riot series.

8.1	Thomas Danforth II or Thomas Danforth III, teapot, 1755–1800, detail.

8.2	Glenn Ligon, Stranger #21, 2005.

9.1	Thomas Eakins, Self-Portrait, 1902.

9.2	Thomas Eakins, The Biglin Brothers Turning the Stake, 1873.

9.3	Thomas Eakins, Portrait of Dr. Samuel D. Gross (The Gross Clinic), 1875.

9.4	Circle of Eakins, Thomas Eakins nude, holding nude female in his arms, looking at camera, ca. 1885.

9.5	Thomas Eakins, Swimming, 1885.

10.1	Asher Brown Durand, Kindred Spirits, 1849.

10.2	Richard Caton Woodville, War News From Mexico, 1848.

12.1	John Hesselius, Charles Calvert and His Slave, 1761.

12.2	José de Ibarra, From Spaniard and Indian, Mestizo, ca. 1725.

12.3	Herman Moll, A new map of the north parts of America claimed by France under ye names of Louisiana, Mississipi, Canada, and New France with ye adjoining territories of England and Spain, 1720.

12.4	Bench, 1750–1800.

13.1	H.H. Richardson, Sever Hall, Harvard University, Cambridge, Massachusetts, 1878–80.

14.1	R.Y. Young, The Church Saint sat on by a Washington “Johnnie,” Manila, Philippine I’ds., 1899.

14.2	Perley Fremont Rockett, Soldiers Entering Pasig Church after Capture, 1899.

14.3	Strohmeyer & Wyman / Underwood & Underwood, Pasig from the Church Tower—after its capture by the Americans—Philippine Islands, 1899.

14.4	Strohmeyer & Wyman / Underwood & Underwood, Lookouts on the Church Top—watching the Filipinos—Taquig, Philippine Islands, 1899.

14.5	Strohmeyer & Wyman / Underwood & Underwood, Praying for the souls of departed friends—Santa Cruz Cemetery, Manila, Philippines, 1899.

14.6	Strohmeyer & Wyman / Underwood & Underwood, The bones of Tenants whose burial rental was not renewed—Santa Cruz Cemetery, Manila, Philippines, 1899.

14.7	Dean Conant Worcester and Penoyer Levi Sherman, Paco Church, 1899.

14.8	Church at Paco, Luzon.

15.1	Arthur Dove, Cow, 1911.

15.2	Gerald Murphy, Boat Deck, 1924.

15.3	Gerald Murphy, Villa America, 1924.

15.4	Georgia O’Keeffe, Series I, White and Blue Flower Shapes, 1919.

15.5	Man Ray, Minotaur, 1933.

16.1	Awa Tsireh, Koshares on Rainbow, cover of John Sloan and Oliver La Farge, Introduction to American Indian Art, 1931.

16.2	Installation view of Gallery of American Indian Art, 18th Venice Biennale, 1932.

16.3	Tonita Peña, Basket Dance, 1932.

16.4	Velino Herrera, Antelopes Running Under Rainy Skies, plate 50 from Pueblo Indian Painting, 1932.

17.1	José Clemente Orozco, Epic of American Civilization, 1932–34, view of entire West Wing.

17.2	José Clemente Orozco, Epic of American Civilization, 1932–34, view of entire East Wing.

17.3	José Clemente Orozco, Epic of American Civilization, 1932–34, view of “Anglo” and “Hispano” America from the East Wing.

17.4	José Clemente Orozco, Modern Industrial Man, Epic of American Civilization, 1932–34.

17.5	José Clemente Orozco, study of Eleazar Wheelock with Indians for The Epic of American Civilization, 1932–34.

17.6	José Clemente Orozco, figure study for Modern Industrial Man for The Epic of American Civilization, 1932–34.

18.1	Map of North America.

18.2	Allan Sekula, permanent installation of Canadian landscape paintings by the Group of Seven, 1924, National Gallery of Canada, Ottawa, from Geography Lesson: Canadian Notes, 1985–86.

18.3	Allan Sekula, Sudbury, from Geography Lesson: Canadian Notes, 1985–86.

18.4	Allan Sekula, Ottawa. Looking west along Wellington Street from Parliament Hill. Second building on left, Bank of Canada, from Geography Lesson: Canadian Notes, 1985–86.

18.5	Allan Sekula, Border Station, Buffalo, New York, from Geography Lesson: Canadian Notes, 1985–86.

19.1	Hiram Powers, Eve Tempted or Eve Before the Fall, modeled 1842.

19.2	John Singleton Copley, Mrs. Ezekiel Goldthwait (Elizabeth Lewis), 1771.

19.3	James Barry, The Phoenix or the Resurrection of Freedom, 1776.

19.4	John Singleton Copley, Daniel Crommelin Verplanck, 1771.

19.5	Frederic Edwin Church, Heart of the Andes, 1859.

20.1	Jésus est mis dans le sépulcre (Christ being laid in the tomb), Station of the Cross number XIV with French caption, St. John’s Catholic Church, Keeseville, New York.

20.2	Kate K. Van Duzee’s contribution to A Steamer Packet, 1903.

20.3	Installation view of RETNA’s Los espiritus de la calle van a sobrevivir, 2011.

20.4	Samuel Mather, “Epitaphium,” in Cotton Mather, Parentator, 1724.

21.1	Benjamin West, Self-Portrait, ca. 1762–63.

21.2	Benjamin West, Portrait of Angelica Kauffmann, 1763.

21.3	John Singleton Copley, Boy with a Flying Squirrel (Henry Pelham), 1765.

21.4	Matthew Pratt, The American School, 1765.

21.5	Gilbert Stuart, Washington Allston, ca. 1819–20.

22.1	Anonymous, Four New American Pictures, from Harper’s Weekly Magazine, April 18, 1857.

22.2	Mathew Brady, Thomas Cole, ca. 1844–48.

22.3	Anonymous, This Is Young Dawdlemore, the Artist, from Harper’s Weekly Magazine, December 31, 1859.

22.4	Daniel Huntington, Asher B. Durand,...

Produkt-Details

• Erscheint lt. Verlag: 30.1.2015
• Reihe/Serie: Blackwell Companions to Art History
• Reihe/Serie: Blackwell Companions to Art History
• Reihe/Serie: Blackwell Companions to Art History
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Allgemeines / Lexika
• Themenwelt: Kunst / Musik / Theater ► Kunstgeschichte / Kunststile
• Themenwelt: Kunst / Musik / Theater ► Malerei / Plastik
• Themenwelt: Geisteswissenschaften ► Geschichte
• Schlagworte: American Art • american art history • american artists • American Material & Visual Culture • American Studies • American Visual Art • American visual culture • American visual heritage • Amerika / materielle u. visuelle Kultur • Art & Applied Arts • Art and Culture • art and identity • Art History • Art History & Criticism • Art History & Theory • Blackwell • colonial art • colonial artists • Companions to Art History • Cultural Studies • early American art • early American artists • Kulturwissenschaften • Kunst • Kunstgeschichte • Kunstgeschichte u. -kritik • Kunstgeschichte u. -theorie • Kunst u. Angewandte Kunst • modern art • postmodern art • USA /Kultur, Künste • USA /Kultur, Künste • U.S. art • U.S. artists • visual arts
• ISBN-10: 1-118-54249-5 / 1118542495
• ISBN-13: 978-1-118-54249-1 / 9781118542491