A Companion to American Art by John Davis -- Read -- Imperial Library of Trantor

Index

Cover Wiley Blackwell Companions to Art History Title page Copyright page Dedication page List of Figures Notes on Contributors Acknowledgments Introduction

Writing American Art History Geographies: Rethinking Americanness Subjectivities Art and Public Culture Conclusion (An Opening)

Part I: Writing American Art History

Dialogue 1 A Conversation Missed

Areas of Difference Case Study: Jackson Pollock Concluding Observations References

2 Response

Mass/Popular Culture Formalism Material Culture Pragmatism References

3 A Time and a Place

Race-ing Black Artists Seeing White The Ends of Race? Imagining a Post-Racial Art History And So, Where and When? References

Dialogue 4 On the Social History of American Art

Introduction The Marxist Social History of Art Marxist and “Marxian” Social Histories of American Art Conclusion Acknowledgments References

5 Response

Acknowledgments References

6 The Maker’s Share

Close Analysis The How-To Book Reconstruction The Maker’s Share Materiality The Social Theorizing Process Conclusion References

Dialogue 7 The Problem with Close Looking

References

8 Response

“Deduction” as Intense Engagement Affective Encounters and Differentiations, or the Politics of Engaging Surfaces Racialized Ontologies of the Visual Messy Histories, Viscerally Felt Conclusion Acknowledgments References

9 Looking for Thomas Eakins

References

Dialogue 10 The Challenge of Contemporaneity, or, Thoughts on Art as Culture

References

11 Response

References

Part II: Geographies: Rethinking Americanness

12 Teaching Across the Borders of North American Art History

Why Co-Teach? The Entangled Classroom Looking Ahead References

13 An American Architecture?

Americanness? American? Can We Still Write About an American Architecture? References

14 The Pacific World and American Art History

References

15 “Home” and “Homeless” in Art between the Wars

References

16 Pueblo Painting in 1932

Awa Tsireh’s Transcultural Line “An Art That Is Really American” Nationalism Undone in Venice Pueblo Mentors and Friends Reproductions and Multiples Acknowledgments References

17 US American Art in the Americas

Settler Modernism in Latin America American Sources of Modern Art Conclusion References

18 Geography Lessons

References

19 Only in America

References

20 Monolingualism, Multilingualism, and the Study of American Art

“the great car of English” In Other Words (Translations) From “English Only” to “English Plus” Forward (Foreword) Acknowledgments References

Part III: Subjectivities

21 Painters and Status in Colony and Early Nation

Portraits, History, Theory Artisanry and Enterprise Colonial Nationalism American Genius References

22 Pantaloons vs. Petticoats

References

23 Male or Man?

Precarious Freedom: John Quincy Adams Ward’s The Freedman The Cult of Lincoln and Anonymized Slaves: Thomas Ball’s Lincoln Memorial Institutional Exclusion and Material Castration: Edmonia Lewis’s Forever Free Conclusion References

24 Drawing Boundaries, Crossing Borders

Acknowledgments References

25 Lookout

Mobilizing Desire The Missing Picture Riding History References

26 From Nature to Ecology

Ecocritical Art History Ecology and Transnationalism Vital Matters: Things, Objects, and the Question of the Animal References

27 Art History as Collage

Acknowledgments References

Part IV: Art and Public Culture

28 Material Religion in Early America

References

29 Issues in Early Mass Visual Culture

Developing a Canon Re-envisioning Mass Audience Reception References

30 Patrons, Collectors, and Markets

Superficial and Substantial Consumption Passive and Active Consumers Consuming Content and Form Conclusion Acknowledgments References

31 Historicism in the American Built Environment

Modernity’s Historicism Historicism in the Early Republic The Invention of an American Tradition Modernism’s Historicism History for Whom? References

32 The Painting of Urban Life, 1880–1930

References

33 Photography and Opium in a Nineteenth-Century Port City

References

34 Value in the Vernacular

Defining the Vernacular Robert Arneson, Up and Down Meditations on a Grain Elevator Erasing Edward Hopper References

35 Realism under Duress

Earlier American Realisms Soviet Socialist Realism Reginald Marsh’s Baroque Realism Philip Evergood’s Expressionist Realism References

Index End User License Agreement

← Prev
Back
Next →

← Prev
Back
Next →