A Companion to American Art

Editor/Author Davis, John and Greenhill, Jennifer A.
Publication Year: 2015
Publisher: Wiley

Single-User Purchase Price: $195.00
Unlimited-User Purchase Price: $292.50
ISBN: 978-0-47-067102-3
Category: Arts & Leisure - Art & Art History
Image Count: 148
Book Status: Available
Table of Contents

A Companion to American Art presents a comprehensive exploration of the methodology, historiography, and current state of the field of American art history. Featuring newly-commissioned essays by leading scholars, readings address both canonical and lesser-known artists, trends, and themes while showcasing a diversity of critical approaches to American art. Topics covered range from scholarly overviews of specific chronological periods, movements, and media to in-depth explorations of theoretical concepts; from patronage to popular visual expression; from artistic facture and form to the history of art reception; and from issues of identity and community to reflections on ecology and the environment.

Share this

Table of Contents

  • Introduction American Art History Now: A Snapshot
  • Writing American Art History
  • Geographies: Rethinking Americanness
  • Subjectivities
  • Art and Public Culture
  • Conclusion (An Opening)
  • Writing American Art History
  • Dialogue: A Conversation Missed Toward a Historical Understanding of the Americanist/Modernist Divide A Conversation Missed: Toward a Historical Understanding of the Americanist/Modernist Divide
  • Areas of Difference
  • Case Study: Jackson Pollock
  • Concluding Observations
  • Dialogue: Response: Setting the Roundtable, or, Prospects for Dialogue between Americanists and Modernists
  • Mass/Popular Culture
  • Formalism
  • Material Culture
  • Pragmatism
  • A Time and a Place Rethinking Race in American Art History A Time and a Place: Rethinking Race in American Art History
  • Race-ing Black Artists
  • Seeing White
  • The Ends of Race?
  • Imagining a Post-Racial Art History
  • And So, Where and When?
  • Dialogue: On the Social History of American Art
  • Introduction
  • The Marxist Social History of Art
  • Marxist and “Marxian” Social Histories of American Art
  • Conclusion
  • Acknowledgments
  • Dialogue: Response: Our Cause Is What?
  • Acknowledgments
  • The Maker's Share Tools for the Study of Process in American Art
  • Close Analysis
  • The How-To Book
  • Reconstruction
  • The Maker's Share
  • Materiality
  • The Social
  • Theorizing Process
  • Conclusion
  • Dialogue: The Problem with Close Looking
  • Dialogue: Response: Look Away
  • “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
  • Looking for Thomas Eakins: The Lure of the Archive and the Object
  • Dialogue: The Challenge of Contemporaneity, or, Thoughts on Art as Culture
  • Dialogue: Response: Writing History, Reading Art
  • Geographies: Rethinking Americanness
  • Teaching Across the Borders of North American Art History
  • Why Co-Teach?
  • The Entangled Classroom
  • Looking Ahead
  • An American Architecture?
  • Americanness?
  • American?
  • Can We Still Write About an American Architecture?
  • The Pacific World and American Art History
  • “Home” and “Homeless” in Art between the Wars
  • Pueblo Painting in 1932: Folding Narratives of Native Art into American Art History
  • Awa Tsireh's Transcultural Line
  • “An Art That Is Really American”
  • Nationalism Undone in Venice
  • Pueblo Mentors and Friends
  • Reproductions and Multiples
  • Acknowledgments
  • US American Art in the Americas
  • Settler Modernism in Latin America
  • American Sources of Modern Art
  • Conclusion
  • Geography Lessons: Canadian Notes on American Art History
  • Only in America: Exceptionalism, Nationalism, Provincialism
  • 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
  • Subjectivities
  • Painters and Status in Colony and Early Nation
  • Portraits, History, Theory
  • Artisanry and Enterprise
  • Colonial Nationalism
  • American Genius
  • Pantaloons vs. Petticoats: Gender and Artistic Identity in Antebellum America
  • Male or Man?: The Politics of Emancipation in the Neoclassical Imaginary
  • 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
  • Drawing Boundaries, Crossing Borders: Trespassing and Identity in American Art
  • Acknowledgments
  • Lookout: On Queer American Art and History
  • Mobilizing Desire
  • The Missing Picture
  • Riding History
  • From Nature to Ecology: The Emergence of Ecocritical Art Historyc
  • Ecocritical Art History
  • Ecology and Transnationalism
  • Vital Matters: Things, Objects, and the Question of the Animal
  • Art History as Collage: A Personal Approach
  • Acknowledgments
  • Art and Public Culture
  • Material Religion in EarlyAmerica
  • Issues in Early Mass Visual Culture
  • Developing A Canon
  • Re-Envisioning Mass Audience Reception
  • Patrons, Collectors, and Markets
  • Superficial And Substantial Consumption
  • Passive And Active Consumers
  • Consuming Content And Form
  • Conclusion
  • Acknowledgments
  • 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?
  • The Painting of Urban Life, 1880—1930
  • Photography and Opium in a Nineteenth-Century Port City
  • Value in the Vernacular
  • Defining The Vernacular
  • Robert Arneson, Up And Down
  • Meditations On A Grain Elevator
  • Erasing Edward Hopper
  • Realism under Duress: The 1930s
  • Earlier American Realisms
  • Soviet Socialist Realism
  • Reginald Marsh's Baroque Realism
  • Philip Evergood's Expressionist Realism