By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A significant other to American Art offers 35 newly-commissioned essays via leading scholars that discover the method, historiography, and present country of the sphere of yank paintings history.
- Features contributions from a stability of demonstrated and rising students, artwork and architectural historians, and different specialists
- Includes numerous paired essays to stress discussion and debate among students on very important modern concerns in American artwork history
- Examines issues reminiscent of the methodological stakes within the writing of yank paintings background, altering principles approximately what constitutes “Americanness,” and the connection of paintings to public culture
- Offers a desirable portrait of the evolution and present country of the sector of yankee artwork background and indicates destiny instructions of scholarship
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Extra resources for A Companion to American Art
1). Case Study: Jackson Pollock While modernist accounts of Pollock may be more widely circulated, the claims that both modernist and Americanist art historians make on his work are compelling, especially in relation to the historical break at 1945 problematized in the opening passages of this essay. J. Clark and two usually associated with the American field by Michael Leja and Erika Doss. Chronologically, the texts make a tight grouping as all were published in the 1990s. Our goal in comparing the interpretive strategies deployed by these authors is not to critique or even to recapitulate each of their arguments as such, but rather to locate in them the methodological and philosophical differences that shape the two fields.
Between 1670, the date of the earliest surviving paintings in British North America, and 1834, when the first official history of American art was published, the status of painters changed dramatically, condensing a process that began some 200 years earlier in Europe. Initially considered artisans (defined by hand labor), American painters participated in the belated eighteenth-century British push to win recognition for themselves as gentleman-intellectuals engaged in a liberal art. That identification, in turn, would be subverted by a more modernist conception of the artist as genius-eccentric.
In the first stand-alone chapter, Tanya Sheehan considers the place of race in the study of American art. In the past, if race was to be seen at all, it was in images that depict non-white bodies or that were created by artists of color. More recently, however, scholars have critiqued these approaches to locating race, noting the tendency to deracialize whiteness and to segregate “minority” arts. Sheehan’s chapter reflects on these and other efforts to think differently about where and when contemporary American art historians look for race.
A Companion to American Art by John Davis, Jennifer A. Greenhill, Jason D. LaFountain