By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A spouse to American Art offers 35 newly-commissioned essays by means of leading scholars that discover the technique, historiography, and present country of the sector of yankee paintings history.
- Features contributions from a stability of verified and rising students, paintings and architectural historians, and different specialists
- Includes numerous paired essays to stress discussion and debate among students on vital modern concerns in American artwork history
- Examines themes comparable to the methodological stakes within the writing of yankee artwork background, altering principles approximately what constitutes “Americanness,” and the connection of paintings to public culture
- Offers a desirable portrait of the evolution and present kingdom of the sphere of yank artwork historical past and indicates destiny instructions of scholarship
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Extra resources for A Companion to American Art
18 ◼ ◼ ◼ j o s h ua s h a n n o n a n d jas o n w e e m s style that, unless negotiated, will leave these subdisciplines substantively out of contact with one another. We should caution from the outset that our chapter, which treats only art history in the English language, necessarily relies on generalization. Several scholars work across the lines we describe here, which are meant to delimit mainstreams of Americanist and modernist art histories, respectively. These mainstreams, in our view, have clustered in recent decades especially around the journal American Art and the University of California Press (in the case of Americanists) and around October and the MIT Press (for their modernist counterparts).
She provides a nuanced analysis of twentieth-century Canadian American artistic exchange by exploring the politics and economics of cultural interdependence and how the practices of American artists Barnett Newman and Allan Sekula have processed these relationships. Newman’s Canadian visit reveals the tensions between the internationalism espoused by the abstract artists who invited him to the “Red” province of Saskatchewan in 1959 and the intense cultural nationalism advocated by a more conservative Canadian government.
And it also became clear that the act of lowering could, itself, only register through the vehicle of a trace or index, through, that is, the stain that would fissure the event from within into act of aggression and mark, or residue, or clue. 29 26 ◼ ◼ ◼ j o s h ua s h a n n o n a n d jas o n w e e m s For Krauss, form is not merely a locus for aesthetic innovation, but rather a register for deeper penetrations into the structural field of representation. Her understanding of Pollock’s breakthrough as the ability to get beneath the figure (“bassesse”) relies on a belief that specific formal acts or configurations—moving the canvas to the floor; reconstituting the intentional mark as an autonomic trace—held the potential for unmasking and subverting the structures that shaped both art and knowledge.
A Companion to American Art by John Davis, Jennifer A. Greenhill, Jason D. LaFountain