Prentice Hall
Art
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American Encounters
ISBN-10: 0130300047
ISBN-13: 9780130300041
Publisher: Prentice Hall
Copyright: 2008
Format: Paper; 704 pp
Published: 10/11/2007
Status: Instock
For survey courses in American art that span ancient Indian cultures to the present.
American Encounters is a long-awaited dynamic new narrative of the history of American art that focuses on historical encounters among diverse cultures, upon broad structural transformations such as the rise of the middle classes and the emergence of consumer and mass culture, and on the fluid exchanges between “high” art and vernacular expression. The text emphasizes the intersections among cultures and populations, as well as the influences, borrowings, and appropriations that have enriched and vitalized our collective cultural heritage.
There was a readily perceived need for an up-to-date survey of American art that addressed the thematic, cultural, and historical concerns of the field in the 21st century. American Encounters offers a new narrative of American art organized around the theme of cross-cultural exchanges. It locates America at the cross-roads of cultural encounters between Asia, Africa, Europe, and the New World, for over five centuries. The authors do not treat traditions separately, rather they explore how peoples and cultures encounter and influence each other and then evolve based on an exchange of ideas, materials etc.
Narrative and Thematic Approach - The narrative observes a chronological approach organized around specific themes. This approach offers clarity of organization, a historical structure, and a thematic and cultural richness of discussion which helps students better understand the connections between different historical periods and cultural groups, as well as exchanges among contemporary groups.
Introductions and conclusions - Provide handy summaries of the main issues covered in each chapter, and link to the subject of the next chapter.
Section Openers - The book is divided into five sections, each with an opener that provides a thumbnail sketch of the historical context covered in the section. Each opener reflects on a
specific object, linking its formal and iconographic elements to its historical context in a seamless fashion. The openers offer students examples of how art and history are woven together.
Box Program - Provides more in-depth treatment of a topic to enrich the student’s historical understanding, and provide glimpses into how historical thinking works.
Fast Forward - links historical material to topics closer to the reader in time, or explore the historical trajectory of a particular cultural or artistic form, its life through time. (e.g. "Disney's Fantasia: Middlebrow Modernism" p.403)
Framing the Discourse - steps out of the historical narrative to explore the terms with which we understand or study a subject. (e.g. "Diaspora and Creolization " p.98)
Methods and Techniques - focuses on the means of art: its formal components, its materials, and its technical procedures. (e.g, "Reading Architectural Plans" p.82)
Cultural Contexts goes beyond the themes of the chapter to consider broader intellectual, historical, social, or cultural factors that have shaped visual culture. (e.g. "The China Trade" p.159)
Myths and Legends - look at a subject through the lens of stories that are both reflected in and shaped by visual artifacts. (e.g. "The Puritan Ideal" p.62)
Part 1: From Ancient Times to the Late Colonial Era
Chapter 1: The Art of Indigenous Americans before 1500 c.e.
The Art of the Eastern Woodlands
Framing the Discourse: New World Origins
Framing the Discourse: Names and Native Americans
The Art of Archaic and Woodland Cultures
Poverty Point
Hopewell Culture
Mississippian Culture
Myths and Legends: Nineteenth-Century Myths of the Moundbuilders
Moundville
Spiro
Cahokia
Arctic Alaska
Old Bering Sea Culture
Ipiutak Stage
Ancient Art of the Southwest
From Basketmakers to Potters and Architects
Anasazi or Ancestral Pueblo
Chaco Canyon
Mimbres Painted Pottery
Art and Culture Change in the Proto-historic Period: Hopi, Zuni, and Acoma
Conclusion
Chapter 2: The Old World and the New: First Phases of Encounter, 1492
European Images of the New World: The First Century
The Earliest Images
Columbus Landing in the Indies
Paradise and Hell
The “Noble Savage”
A Beckoning Princess
Fast Forward: The Long History of the Feathered Headdress
The Empirical Eye of Commerce
John White
De Bry’s Great Voyages
New World Maps
Ceremonies of Possession
The Spanish Requirimiento
The French and the Timucua
The English: Taking Possession of the Land
Indigenous Eastern North America: Forging a Middle Ground
New Materials and New Markets
“Powhatan’s Mantle”
Horse Effigy Comb
War Club
Pipe Tomahawk
A Pair of Ceremonial Pouches
A Painted Hide
Wampum: A Contract in Shells
Fast Forward: The Repatriation of Wampum
“Fond of Finery”: Portraiture and Self-Display
Hendrick and John: Eighteenth-century Gentlemen at the Boundaries of Cultures
Northern New Spain: Crossroads of Cultures
A “Bi-Ethnic” Society
The Matachines Dance
Pueblo and Mission in New Mexico
Fast Forward: Santa Fe Fiesta–Reenacting the Conquest
Acoma
Adobe: Converging Traditions
The Mission and Convent of San Esteban at Acoma Pueblo
The Church of San Agustín at Isleta Pueblo
The Mission Church and Convent of San José at Laguna Pueblo
Pecos Pueblo and Mission: An Intercultural Zone
The Segesser Hides: A Pictorial Record of Spanish and Pueblo Bravery on the Great Plains in 1720
Conclusion
Chapter 3: Early Colonial Arts, 1632—1734
Designing Cities, Partitioning Land, Imaging Utopia
Hispanic Patterns of Land Settlement in North America
El Cerro de Chimayo
British Patterns of Land Settlement in North America
An engraved map of Savannah
New Haven
Organic, Grid, Radial
Boston
Myths and Legends: The Puritan Ideal
New York City
Philadelphia
The Ordinance of 1785
The District of Columbia
Seventeenth-Century Painting: Puritans in Kid Gloves
Portraits
The Freake Portraits
The Mason Children
Captain Thomas Smith’s Self-Portrait
Hispanic Village Arts
The Santero Tradition
Saint Joseph by Rafael Aragón
Retablo Painting and the Santero Tradition
Retablo at San José, Laguna Pueblo
Santero Painting
Fast Forward: The Virgin of Guadalupe: Transnational Icon
Native Elements in Santero Painting
Architecture and Memory
The Spanish in the Southeast: Saint Augustine
Castillo San Marcos, in Saint Augustine
Building in New England and Virginia
Hingham Meeting House, Hingham, Massachusetts
Saint Luke’s Church, Smithfield, Virginia
Houses
Myths and Legends: Myth of the Log Cabin
Bacon’s Castle, Surry County, Virginia
Ward House, Salem, Massachusetts
Fairbanks House, Dedham, Massachusetts
Methods and Techniques: Reading Architectural Plans
Style and Substance
Design, Material Culture, and the Decorative Arts
The Seventeenth-Century Interior
The Chair
Methods and Techniques: Theories of architectural preservation
The Court Cupboard
A Silver Sugarbox
Textiles
Embroidery
A Native Basket
The Carver’s Art: Colonial New England Gravestones
“The Charlestown Stonecutter”
The Lamson Family Carvers
Representing Race: Black in Colonial America
The First Africans in America
Colonoware
The Descent into Race-Based Slavery in America
Two African American Slave Sculptures
Conclusion
Chapter 4: Late Colonial Encounters: The New World, Africa, Asia, and Europe, 1735—1797
The African Diaspora
Thomas Coram’s View of Mulberry (House and Street)
The Shotgun House
Framing the Discourse: Diaspora and Creolization
The African House
Virginia: Eighteenth-Century Land Art
Oak Alley Plantation (Vacherie, Louisiana)
Mount Vernon
Methods and Techniques: The Classical Orders
Palladio and “Georgian” Building
Palladio’s Four Books
Georgian Domestic Architecture
Mount Airy, in Virginia
Mount Pleasant, in Pennsylvania
Whitehall, in Rhode Island
Georgian Religious Architecture
The Quaker Meeting House
The Touro Synagogue
Trinity Church
The “Colonial Church”
The Mission System in Texas, Arizona, and California
Fast Forward: New England Meets Hawaii
Texas Missions
San José y San Miguel de Aguayo
Arizona Missions: San Xavier del Bac
San Xavier del Bac
California: The Mission Santa Barbara
Mission Santa Barbara
The Crafted Object
Ben Franklin’s Porringer
Cultural Contexts: Colonial Money
Paul Revere the Silversmith
Sons of Liberty Bowl
The Line of Beauty
The Combination of Aesthetic Languages in Decorative Objects
The Colonial Artisan
John Goddard, Master Cabinetmaker
The Cosmopolitan Wigwam
Artists Painting
Copley and West: Beacon Hill and the Academy
Copley’s Colonial Portraits
West’s History Paintings
Painting, Portraiture and Race
Justus Kühn’s Henry Darnall III as a Child
Sea Captains Carousing at Surinam, by John Greenwood
Watson and the Shark
Conclusion
Part 2: From Ancient Times to the Late Colonial Era
Chapter 5: Art, Revolution, and The New Nation, 1776—1828
The American Revolution in Print, Paint, and Action
Print Wars
The Deplorable State of America
The Bloody Massacre
“Playing Indian”
Reinterpreting the Revolution: John Trumbull
Cultural Contexts: Festivals and Parades
The Death of General Warren at the Battle of Bunker’s Hill, 17 June, 1775
Celebrating Franklin and Washington
Franklin as Experimentalist
The “Athenaeum Portrait”
Fast Forward: Washington as Zeus
The African American Enlightenment
Scipio Morehead’s portrait of Phyllis Wheatley
Liberty Displaying the Arts and Sciences by Samuel Jennings
Joshua Johnston
Fast Forward: Two Versions of Education
Classical America
Thomas Jefferson’s Western Prospect
Monticello
The Virginia State Capitol
The University of Virginia
Capitols in Stones and Pigment
Charles Bulfinch, Architect
The United States Capitol
A Portrait of the Capitol: Morse’s The House of Representatives
Cultural Contexts: The White House
Domestic Life
Gore Place, a Neoclassical Home
A Carved Mahogany Chair, attributed to Samuel McIntire
Cultural Contexts: The China Trade
Ladies’ Furnishings
Fast Forward: A Greek Revival Interior
Women’s Artistic Education
Painting in the New Nation
Portraiture and Commercial Life: Gilbert Stuart
The Skater
Painting and Citizenship: Charles Willson Peale
The Staircase Group
The Artist in his Museum
Myth and Eroticism: John Vanderlyn
Ariadne Asleep on the Isle of Naxos
Early Romanticism: Washington Allston
Elijah in the Desert
Moonlit Landscape (Moonlight)
Conclusion
Chapter 6: The Body Politic, 1828—1865
The Language of Emotion
Home and Family
Lilly Martin Spencer
“Sentimentalism in Nature”
Sculpture
Harriet Hosmer
Edmonia Lewis
Hiram Powers
Gothic America
Lyndhurst Architect, by Alexander Jackson Davis
Moss Cottage, Oakland, California
Gothic Revival Furnishings
The American Woman’s Home
Egyptian Revival
The Washington Monument
A Silver Sauceboat
Art of the People
Quilts and Women’s Culture, 1800—1860
Baltimore Album Quilts
Friendship Quilts
Raising Funds and Social Awareness
Folk and Vernacular Traditions
Rural Painters
Silhouettes
“Just for Pretty” 187
Fraktur 187
Native Imagery in Vernacular Art
Shaker Art and Innovation
Shaker Box
Shaker Furniture
Shaker Spiritual Visions
The Cultural Work of Genre Painting
Culture vs. Commerce: Allston, Morse, Mount
The Poor Author and the Rich Bookseller
The Gallery of the Louvre
The Painter’s Triumph: A Reply to Morse
Woodville: the Pleasures and Perils of the Public Sphere
War News from Mexico
Politics in an Oyster House
Street Scenes
John Carlin
Young Husband: First Marketing, by Lilly Martin Spencer
Framing the Discourse: Hannah Stiles and the “Trade and Commerce Quilt”
Mount: Abolitionism and Racial “Balance”
Farmers Nooning
Eel Spearing at Setauket
Antebellum Anti-Sentimentalist: Blythe
Slaves and Immigrants
John Quidor
Minstrel Shows
Conclusion: Domesticity and the West
Chapter 7: Native and European Arts at the Boundaries of Culture: The Frontier West and Pacific Northwest,
1820s—1850s
Plains Cultures of the West: From Both Sides
The Myth of the Frontier
Setting Differences Aside on the New Frontier
Native Plains Culture in the 1820s and 1830s
The Vision Quest
Picturing Prowess
Chief Máh-to-tóh-pa as Portrayed by George Catlin
Máh-to-tóh-pa’s Depictions of his Own Heroic Exploits
“Authentic” Indians
Plains Women’s Artistry in Quills and Beads
Quillwork
A Northern Plains Dress
Trade Beads
George Catlin’s Indian Gallery
William Fiske’s Portrait of Catlin
Documenting “A Dying Race”
Fast Forward: The Indian as Spectacle
Living Traditions and Icons of Defeat
The “Vanishing” American Indian
The “Good” Indian
The “Bad” Indian
George Bingham and the Domestication of the West
Daniel Boone Escorting Settlers Through the Cumberland Gap
Bingham’s Aesthetic
Fur Traders Descending the Missouri
Framing the Discourse: Institutional Contexts: The American Art-Union
The Bawdy West
Native Arts of Alaska
Tlingit Art: Wealth and Patronage on the Northwest Coast
The Whale House of the Raven Clan
Raven and the Sun
Methods and Techniques: Formlines and Ovoids: The Building Blocks of Northwest Coast Design
Trade Goods
The Concept of at.óow
Aleut, Yupik, and Inupiaq Arts: Hunters and Needleworkers
Fast Forward: Tlingit Art, Ownership, and Meaning Across the Generations
A Waterproof Parka of Seal Intestine
A Hunting Visor
Bending Wood and Bone
Fast Forward: Intercultural Arts in Nome, Alaska, circa 1900
Conclusion
Chapter 8: Why Paint Landscapes?
Framing the Discourse: A Brief History of the Word “Landscape”
Picturesque Beginnings
Looking East from Denny Hill
View Near Fishkill
Picturesque Parks
Mount Auburn
Framing the Discourse: Memorializing Death
Central Park
Picturesque Architecture: Andrew Jackson Downing
Rotch House
The Anti-Picturesque: Functionalism and “Yankee Ingenuity”
Mechanized Manufacture
Balloon Frame Construction
Interchangeable Parts
The Sublime: The Formation and Development of the Hudson River School of Painting
The Practice of Landscape Appreciation
Catskill Mountain-House
Niagara Falls
Politics By Other Means: Thomas Cole
Expulsion from the Garden of Eden
The Course of Empire
Democratizing the Landscape: Asher B. Durand
Kindred Spirits
The New National Landscape: Frederic Edwin Church
The Influence of Claude Lorrain and the “Middle Landscape”
Merging the Local with the National: New England
Geology and Church’s “Great Picture”: Heart of the Andes
Feminizing the Landscape: Luminism
John Kensett
Fitz Henry Lane
Sanford R. Gifford
Representing War
Daguerreotypes and Early Photography
Photographic Documents of Slavery
Mathew Brady and his “Gallery of Illustrious Americans”
The Photographic Image and the Civil War
Images of the Fallen
War and Peace
Prisoners from the Front by Winslow Homer
Two Versions of the Home Front
Conclusion
Part 3: From Ancient Times to the Late Colonial Era
Chapter 9: Post-War Challenges: Reconstruction, the Centennial Years, and Beyond, 1865—1900
Representing “Race”: From Emancipation to Jim Crow
Thomas Nast: Racial Caricature and the Popular Press
The Mixed Legacy of Emancipation: Monuments to Freedom
The Freedman
A Quilt by a Former Slaveowner
Saint-Gaudens’s Memorial to Robert Gould Shaw: Common and Uncommon Soldiers
The Post-War South: Richard Brooke and Winslow Homer
A Pastoral Visit
Dressing for the Carnival
The Gulf Stream
The Turtle Pound
Harriet Powers’s Bible Quilts: Popular Religion and Black Emancipation
Henry Ossawa Tanner
The Banjo Lesson
Facing Off: Divided Loyalties
Compositional and Thematic Polarity
The Morning Bell
The Persistence of the Past: The Colonial Revival
The Puritan
The Shingle Style
Quaint, Endearing, and Comforting
Popular Prints and the Emergence of Cultural Hierarchies
Chromolithography
Methods and Techniques: Print Techniques
The Post-War West: Expansion, Incorporation, and the Persistence of the Local, 1860—1900
Landscape Art, Photography, and Post-War National Identity
“Booster Artwork”: Yosemite and the Sierra Nevadas
Cultural Contexts: Circulating the West
“Disinterested Knowledge”: Yellowstone and other Surveys of the West
New Mexico and Arizona Territories: Local Cultures and Expanding Markets
Pueblo Pottery and Carving
Navajo Weaving and Worldview
The Art of the Penitente Brotherhood
The Clash of Cultures, From Both Sides
Plains Ledger Drawings: Native Commemoration in an Era of Change
Sitting Bull’s Exploits as depicted by Four Horns
Prison Drawings from Fort Marion
Wohaw of Two Worlds
Black Hawk’s Vision of a Thunder Being
The Noble Indian and the “Vanishing Race,” Once Again
The End of the Trail
The Dawes Act
The Song of the Talking Wire
Myths and Legends: The Past as Spectacle: Buffalo Bill Cody’s “Wild West”
The North American Indian by Edward Curtis
“Alaska Views”
Conclusion
Chapter 10: A New Internationalism: The Arts in an Expanding World, 1876—1900
The Cosmopolitan Spirit in American Art
Generational Divisions
The Artist and His Studio
Breaking Home Ties
Japonisme: The Meeting of East and West
Framing the Discourse: Race and Class: “Highbrow” and “Lowbrow”
American Impressionism
Childe Hassam: Aestheticizing the City
John Henry Twachtman: Beyond Impressionism
American Expatriates: At Home Abroad
John Singer Sargent
James Abbott McNeill Whistler
Methods and Techniques: The Fine Art Print
Mary Cassatt and Henry Ossawa Tanner
The Marketplace of Styles
The Crazy Quilt Mania and the Philadelphia Exposition
The New American Architecture
The Influence of the Ecole des Beaux Arts in Paris
Richard Morris Hunt
Origins of the Skyscraper
History and the Individual Talent: H. H. Richardson
Trinity Church, Boston
Architecture and the New Metropolis: Louis Sullivan
The Department Store
The Office Building
The Transportation Building
Reform and Innovation: Handcraft and Mechanization in the Decorative Arts, 1860—1910
Origins in Social Theory
Herter Brothers
Cultural Contexts: Inventions, Patents, and the (Non)Collapsible Chair
Women Designers and Artistic Collaboration
The Arts and Crafts Movement
Cultural Contexts: Hawaiian Quilts and Cross-Cultural Collaborations
California Baskets and the Arts and Crafts Movement
Tiffany, American Indian Basketry Design, and the 1900 Paris Exposition
Awakening the Senses: The Glasswork of Tiffany and Company and John La Farge
Conclusion
Chapter 11: Exploration and Retrenchment: The Arts in Unsettling Times, 1890—1900
Victorian into Modern: Exploring the Boundaries between Mind and World
Framing the Discourse: Victorian
The Antimaterialist Impulse: Symbolism and Tonalism
George Inness
Willard Metcalf
Albert Pinkham Ryder
Trompe l’Oeil: “The Real Thing”?
Cultural Contexts: American Art and the New Perceptual Psychology
John Haberle
Late Homer, Early Modernism
Right and Left
Feminine/Masculine: Gender and Late-Nineteenth-Century Arts
Women Artists and Professionalization
A Woman’s Self-Portrait
Men Painting Women; Women Painting Themselves
Getting Together for Tea
The Life of Leisure
The Female Experience
The Artifice of Feminine Behavior
Thomas Eakins: Restoring the (Male) Self
Mechanization Sets the Terms
Life of the Mind, Life of the Body
Portrait of Frank Hamilton Cushing: Crossing Cultures
Reasserting Cultural Authority
The Universal Language of Art
Monumental Architecture in the Age of American Empire
The Library of Congress
The Columbian Exposition in Chicago, 1893
Photography and Modernity
Jacob Riis: “Capturing” the Slum
How the Other Half Lives
The People Take the Pictures: Democratizing Photography with the Kodak
‘Modernizing Vision’: Eadweard Muybridge and Instantaneous Photography
Conclusion
Part 4: From Ancient Times to the Late Colonial Era
Chapter 12: The Arts Confront the New Century: Renewal and Continuity, 1900—1920
Early-Twentieth-Century Urban Realism
Framing the Discourse: Modernism/Modernity/Modernization
The Ashcan Artists
Robert Henri: “The Art Spirit”
George Bellows
John Sloan and the Act of Looking
Ethnic Caricature
Gender and the Ashcan Artists
Graphic Satire in The Masses
The Social Documentary Vision: Lewis Hine
The Road to Abstraction
Cultural Nationalism/Aesthetic Modernism: Alfred Stieglitz
Fast Forward: Disney’s Fantasia: Middlebrow Modernism
Stieglitz as Gallery Owner
Stieglitz as Magazine Publisher
Stieglitz’s Equivalents
Stieglitz and His Circle
Cultural Contexts: The Lyrical Left
Organic Abstraction: Arthur Dove
Georgia O’Keeffe
Stieglitz and O’Keeffe: “Love in the Machine Age”
Fast Forward: Vision as Meditation
An Organic Expressionist: John Marin
Photography: From Pictorialism to “Straight”
Establishing Photography as a Fine Art
The Photo-Secession
“Pictorialist” Photography
The Beginnings of Photographic Modernism
The Steerage
Paul Strand
Fast Forward: Modernist Photography in the 1930s and the f.64 Group
Conclusion
Chapter 13: Transnational Exchanges: Modernism and Modernity Beyond Borders, 1913—1940
American Apprenticeship to European Modernism
Before the Armory Show
An American in Paris
The Armory Show
Duchamp’s Nude Descending a Staircase No. 2
American Modernity, From Both Sides
New York dada: A Transatlantic Collaboration
Framing the Discourse: Winning the Public Over to Modernism
Emigré Influence
Gender Play
The Primitive and the Modern
Duchamp and the “Readymade”
Alexander Calder: Reinventing the Gadget
Expatriation and Internal Exile Between the Wars
Ironic Distance: Gerald Murphy and Josephine Baker
Homosexual Exiles: Romaine Brooks, Marsden Hartley, and Charles Demuth
Comfortably at Home in the Not-at-Home: Stuart Davis
Sculpture: The Primitive and the Modern
Direct Carving: Modernist Primitivism in Sculpture
William Zorach
John Flannagan
A Stylized Modernism: European Emigrés and American Sources
Elie Nadelman
Gaston Lachaise
Alexander Archipenko
Architectural Encounters: Transnational Circuits
The Early Career of Frank Lloyd Wright
American Architecture Abroad
“Silo Dreams”: American Industrial Architecture and European Modernism
The Modern American Industrial Factory
Conclusion
Chapter 14: The Arts and the City, 1913—1940
The Skyscraper in Architecture and the Arts
Designing for Modernity: The “Moderne” Style
Luxury Interiors
Glamorous Garments
Cubism in the American Grain
The View from the Top
Cubistic Camerawork
The Skyscraper City
Imaginary Skyscrapers and Visionary Artists
Y.T.T.E.
Simon Rodia’s Watts Towers
The Urban/Industrial Image in 1910—30
From Fragmentation to Unity
Max Weber
Joseph Stella
Precisionism: Modernist Classicism and the Aesthetics of Immobility
Charles Sheeler
“Tombstones of Capitalism”
The Commercial Landscape of the Everyday
“Modern Vernacular”
Stuart Davis
Photography and Advertising: Modernism Allied to Commerce
Steichen as Ad Artist
The Painter, the Poet, and the City: Charles Demuth’s Poster Portrait of William Carlos Williams
The City and Popular Media: Comics and Animation
Little Nemo
George Herriman’s Krazy Kat
A Comic Strip by a Modernist Artist
The Beginnings of Animation: “Felix the Cat”
The Human City: Spectacle, Memory, Desire
The City as Spectacle: Reginald Marsh
Quiet Absorption: Isabel Bishop’s Women
The Emergence of Urban Black Culture
Archibald Motley, Jr.
The Margins of the Modern: Edward Hopper and Charles Burchfield
Edward Hopper
Charles Burchfield
The Dream-life of Popular Culture
Joseph Cornell
Henry Darger
Conclusion
Chapter 15: Searching for Roots, 1918—1940
The Rediscovery of America
Forging Continuities with the Nineteenth-century Craft Tradition
Framing the Discourse: The Usable Past
Sheeler’s Barns
Folk Art Revival
The Dark Side of the “Folk”
The Regionalist Philosophy
“Commodification” of Folk and Native Art
The Politics of Artistic Regionalism
John Steuart Curry
Thomas Hart Benton
Art Colonies and the Anti-modern Impulse
Romantic Regionalism in California and New Mexico
“Mission Revival” Style
“Pueblo Revival” or “Santa Fe” Style
The Biography of a Building
Norman Rockwell: Illustrator for the American People?
Preservation, Tradition, and Reinvention in the Twentieth Century
Potters, Painters and Patrons: The Market for Pueblo Arts
Pueblo Watercolors and Awa Tsireh
Maria Martinez and the Marketing of Pueblo Pottery
The Reinvention of Tradition: Twentieth-Century Santero Art
Festivals: Invented Traditions and Ancestral Memories
Fast Forward: The Late-Twentieth-Century Santero Revival
“Fiestas Patrias”
Hispanic Ethnic Festivals
“Days of the Dead”
Carnival
Mardi Gras “Tribes”
The “New Negro” Movement and Versions of a Black Art
The Black Artist and the Folk
Sargent Johnson
William Johnson
Vernacular Black Artists of the Twentieth Century
Horace Pippin
William Edmondson
Bill Traylor
James Hampton
Fast Forward: Lonnie Holley: A Contemporary Vernacular Artist
Conclusion 515
Chapter 16: Social Visions: The Arts in the Depression Years, 1929—91
The Depression and the Narrative Impulse
Mexican Muralists and Their Influence on Public Art
Framing the Discourse: Taylorization and the Assembly Line “Speed-up”
Diego Rivera in Detroit
José Clemente Orozco at Dartmouth
Charles White
Social Realism
Ben Shahn
Fast Forward: The Continuing Relevance of Mexican Art
Philip Evergood
Epics of Migration
Jacob Lawrence
Aaron Douglas
Dis-Articulating Identity: Isamu Noguchi
Anti-Fascism and the Democratic Front: Abstraction and Social Surrealism
Federal Patronage: Roosevelt’s Works Progress Administration (WPA)
A Fresco for a Garment Workers’ Community
A Native American Muralist at the Department of the Interior
A Typical Post Office Mural
A New Deal for Indians
The Renovation of Chief Shakes’s House
Archaism in Public Sculpture
The Varieties of Photographic Documentary
The “File”: The Farm Security Administration and “the Camera with a Purpose”
Dorothea Lange
Margaret Bourke-White and Walker Evans: Documentary Extremes
You Have Seen Their Faces
Let Us Now Praise Famous Men
Design and Architecture in the 1930s: Corporate Patronage and Individual Genius
Mass-Marketing the Modern: Industrial Design
The Streamlined Style
The Machine Art Show at the Modern
Lewis Hine’s Men at Work
Corporate Utopias: The World’s Fairs of the 1930s
Frank Lloyd Wright in the 1930s
Fallingwater
Conclusion
Chapter 17: Cold War and the Age of the Atom, 1945—1960: Consensus and Anxiety in the Arts
The Crisis of the Subject: From Narrative to Myth and Symbol in the 1940s
“Magic Realism”
Andrew Wyeth
Henry Koerner
“Modern Man” and “Primitive” Ritual
Arshile Gorky: Abstraction and Memory
The Origins of Abstract Expressionism
Early Jackson Pollock
Pollock’s Drip Paintings
Methods and Techniques: Jackson Pollock and Navajo Sand Painting
The Abstract Expressionist Movement
Color Field Painting
The Abstract Expressionist Sculptor: David Smith
Cultural Contexts: Abstract Art and American Quilts
Framing the Discourse: Abstract Expressionism and the Rhetoric of Nature
The “Triumph” of Abstract Expressionism and Beyond
The Contradictions of Success
Helen Frankenthaler and the “Soak-Stain” Method
Pacific Rim Influences
Mark Tobey
All-Over Composition and the Break from Hierarchy
Image Culture, Gender Crisis, and Identity in the 1950s
“The Girl Back Home”
Willem de Kooning’s Woman
George Tooker’s Waiting Room
Beyond Abstract Expressionism
Jasper Johns
Robert Rauschenberg
Photography: From Photojournalism to the Eccentric Eye
Photojournalism
Robert Capa
Eugene Smith
The Family of Man
New York Photographers
Diane Arbus
Post-war Design and the Domestication of Modernism
Museums and the Marketing of “Good Design”
Cultural Contexts: Communities of Taste
Charles and Ray Eames
Machines to Bodies: Biomorphic Design
The International Style: Architecture as Icon
Mies van der Rohe and the Corporate Building
Organic Design: Architecture as Sculpture
Frank Lloyd Wright’s Guggenheim Museum
Eero Saarinen’s TWA Terminal
Conclusion
Part 5: From Ancient Times to the Late Colonial Era
Chapter 18: Art into Life: 1960—1980
The Space and Objects of Everyday Life: Performance, Pop, and Minimalism
Performance
Happenings
Fluxus
Pop Art, Consumerism, and Media Culture
The Store and The Factory
The Commercial Unconscious
Warhol’s Disaster Series
War and Consumption: F-111
Minimalism
Precursors of Minimalism in Painting
Donald Judd and Carl Andre
Critical Debates about Minimalism
Framing the Discourse: The Politics of Assemblage
Sol LeWitt and Dan Flavin: the Role of the Viewer
The Figure in Crisis
Bodily Dispersions: Postminimalism, Dance, and Video
Eva Hesse and Postminimalism
Yvonne Rainer and a New Choreography
Video and the new-media body
The Subject and the System: Conceptual Art and Body Art
Defining Conceptual Art
Contractual Procedures
Information and its Failures
The Artist’s Body: Eleanor Antin and Chris Burden
Figures of Resistance
T. C. Cannon and Betye Saar: Reanimated Stereotypes
Murals, on and off the wall
American Spaces Revisited
Challenging the Museum
Hans Haacke and Vito Acconci
Mierle Laderman Ukeles
The Mediated Landscape
Robert Smithson
Christo and Jeanne-Claude
Ana Mendieta
Broken Homes
Womanhouse
Gordon Matta-Clark
Framing the Discourse: Art and Feminism in the 1970s
Conclusion
Chapter 19: American Art in Flux, 1980—present
“The Death of the Artist” in Postmodernism
Film Stills by Cindy Sherman
Sherrie Levine’s Rephotographs
Framing the Discourse: 1970s Feminism vs 1980s Feminism
Postmodern Theories of Reference
Postmodern Pastiche in Architecture
Art and Language
Jenny Holzer
Guerrilla Girls
Glenn Ligon
Consumption, Critique, and Complicity
Haim Steinbach
Jeff Koons
David Hammons
Krzysztof Wodiczko
Jaune Quick-To-See Smith
The Culture Wars
Andres Serrano’s Piss Christ
Controversies over Public Funding
The AIDS Crisis
The New Arts of Memory
Monuments and Memorials Redefined
Vietnam Veterans’ Memorial
Memory and the Museum
James Luna
Fred Wilson
Craft Anachronism
Samplers by Elaine Reichek
Clay Figures by Roxanne Swentzell
Silhouettes by Kara Walker
Contemporary American Art and Globalization
Nomads
Cyborgs
Hybrids
Conclusion
New-York Historical Society / BOOKS THAT MATTER
(What Historians Are Reading Now — A Series)
Sunday, December 9, 2007
Rebecca Zurier is reading:
AMERICAN ENCOUNTERS: ART, HISTORY, AND CULTURAL IDENTITY
By: Angela L. Miller, Janet C. Berlo, Bryan J. Wolf, and Jennifer L. Roberts
The reach of this lavishly illustrated textbook extends beyond the classroom, as should its readership. A sweeping story of encounters between Native American and colonial artists, homegrown talent and cosmopolitans, builders and materials, and highbrows and lowbrows at the crossroads of five continents, it presents the bumptious pageant that has inspired a new generation of scholarship on the history of American art. Sidebars explain everything from Moundbuilders to Modernism but what shines are the original research and interpretive passages that bring to light dozens of lesser-known creators while helping us see old favorites anew.
Rebecca Zurier is Associate Professor of the History of Art at the University of Michigan. She is the author of Picturing the City: Urban Vision and the Ashcan School.
For the Humanities Discipline
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Allyn & Bacon & Barr
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ResearchNavigator.com Guide
Allyn & Bacon
©2007 | Prentice Hall | Paper; 48 pp | Instock
ISBN-10: 0205517196 |
ISBN-13: 9780205517190
iClicker Classroom Response System
iClicker & Allyn & Bacon/Longman
©2008 | Prentice Hall | Electronic Supplement | Instock
ISBN-10: 0205594506 |
ISBN-13: 9780205594504
InterWrite PRS RF (Personal Response System)
InterWrite PRS & Allyn & Bacon/Longman
©2005 | Prentice Hall | Electronic Supplement | Instock
ISBN-10: 0205436951 |
ISBN-13: 9780205436958
ResearchNavigator.com Guide
Allyn & Bacon
©2007 | Prentice Hall | Paper; 48 pp | Instock
ISBN-10: 0205517196 |
ISBN-13: 9780205517190
ResearchNavigator.com Guide
Allyn & Bacon & Barr
©2007 | Prentice Hall | Paper; 48 pp | Out of Stock
ISBN-10: 020552396X |
ISBN-13: 9780205523962
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