A Companion to American Art
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.
This book is found in the following Credo Collections:
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