Prentice Hall
Art
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ISBN-10: 0130300047
ISBN-13: 9780130300041
Publisher: Prentice Hall
Copyright: 2008
Format: Paper; 704 pp
Published: 10/11/2007
Suggested retail price: $90.67
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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 1
Chapter 1: The Art of Indigenous Americans before 1500 c.e. 3
The Art of the Eastern Woodlands 5
Framing the Discourse: New World Origins 5
Framing the Discourse: Names and Native Americans 7
The Art of Archaic and Woodland Cultures 6
Poverty Point 7
Hopewell Culture 8
Mississippian Culture 9
Myths and Legends: Nineteenth-Century Myths of the Moundbuilders 9
Moundville 10
Spiro 11
Cahokia 13
Arctic Alaska 15
Old Bering Sea Culture 15
Ipiutak Stage 16
Ancient Art of the Southwest 17
From Basketmakers to Potters and Architects 17
Anasazi or Ancestral Pueblo 17
Chaco Canyon 18
Mimbres Painted Pottery 19
Art and Culture Change in the Proto-historic Period: Hopi, Zuni, and Acoma 20
Conclusion 21
Chapter 2: The Old World and the New: First Phases of Encounter, 1492—date? 23
European Images of the New World: The First Century 23
The Earliest Images 24
Columbus Landing in the Indies 24
Paradise and Hell 24
The “Noble Savage” 24
A Beckoning Princess 25
Fast Forward: The Long History of the Feathered Headdress 25
The Empirical Eye of Commerce 26
John White 26
De Bry’s Great Voyages 28
New World Maps 29
Ceremonies of Possession 30
The Spanish Requirimiento 30
The French and the Timucua 31
The English: Taking Possession of the Land 32
Indigenous Eastern North America: Forging a Middle Ground 32
New Materials and New Markets 33
“Powhatan’s Mantle” 33
Horse Effigy Comb 34
War Club 35
Pipe Tomahawk 35
A Pair of Ceremonial Pouches 36
A Painted Hide 37
Wampum: A Contract in Shells 38
Fast Forward: The Repatriation of Wampum 39
“Fond of Finery”: Portraiture and Self-Display 39
Hendrick and John: Eighteenth-century Gentlemen at the Boundaries of Cultures 40
Northern New Spain: Crossroads of Cultures 43
A “Bi-Ethnic” Society 44
The Matachines Dance 44
Pueblo and Mission in New Mexico 45
Fast Forward: Santa Fe Fiesta–Reenacting the Conquest 46
Acoma 47
Adobe: Converging Traditions 48
The Mission and Convent of San Esteban at Acoma Pueblo 49
The Church of San Agustín at Isleta Pueblo 50
The Mission Church and Convent of San José at Laguna Pueblo 51
Pecos Pueblo and Mission: An Intercultural Zone 51
The Segesser Hides: A Pictorial Record of Spanish and Pueblo Bravery on the Great Plains in 1720 53
Conclusion 55
Chapter 3: Early Colonial Arts, 1632—1734 57
Designing Cities, Partitioning Land, Imaging Utopia 58
Hispanic Patterns of Land Settlement in North America 58
El Cerro de Chimayo 59
British Patterns of Land Settlement in North America 60
An engraved map of Savannah 60
New Haven 60
Organic, Grid, Radial 61
Boston 62
Myths and Legends: The Puritan Ideal 62
New York City 64
Philadelphia 64
The Ordinance of 1785 65
The District of Columbia 66
Seventeenth-Century Painting: Puritans in Kid Gloves 67
Portraits 67
The Freake Portraits 67
The Mason Children 70
Captain Thomas Smith’s Self-Portrait 71
Hispanic Village Arts 73
The Santero Tradition 73
Saint Joseph by Rafael Aragón 73
Retablo Painting and the Santero Tradition 73
Retablo at San José, Laguna Pueblo 73
Santero Painting 74
Fast Forward: The Virgin of Guadalupe: Transnational Icon 75
Native Elements in Santero Painting 76
Architecture and Memory 76
The Spanish in the Southeast: Saint Augustine 76
Castillo San Marcos, in Saint Augustine 77
Building in New England and Virginia 77
Hingham Meeting House, Hingham, Massachusetts 78
Saint Luke’s Church, Smithfield, Virginia 78
Houses 80
Myths and Legends: Myth of the Log Cabin 80
Bacon’s Castle, Surry County, Virginia 80
Ward House, Salem, Massachusetts 80
Fairbanks House, Dedham, Massachusetts 82
Methods and Techniques: Reading Architectural Plans 82
Style and Substance 83
Design, Material Culture, and the Decorative Arts 84
The Seventeenth-Century Interior 84
The Chair 84
Methods and Techniques: Theories of architectural preservation 85
The Court Cupboard 85
A Silver Sugarbox 86
Textiles 87
Embroidery 87
A Native Basket 88
The Carver’s Art: Colonial New England Gravestones 88
“The Charlestown Stonecutter” 89
The Lamson Family Carvers 89
Representing Race: Black in Colonial America 90
The First Africans in America 91
Colonoware 91
The Descent into Race-Based Slavery in America 92
Two African American Slave Sculptures 92
Conclusion 93
Chapter 4: Late Colonial Encounters: The New World, Africa, Asia, and Europe, 1735—1797 95
The African Diaspora 95
Thomas Coram’s View of Mulberry (House and Street) 96
The Shotgun House 97
Framing the Discourse: Diaspora and Creolization 98
The African House 98
Virginia: Eighteenth-Century Land Art 98
Oak Alley Plantation (Vacherie, Louisiana) 98
Mount Vernon 99
Methods and Techniques: The Classical Orders 101
Palladio and “Georgian” Building 102
Palladio’s Four Books 102
Georgian Domestic Architecture 102
Mount Airy, in Virginia 103
Mount Pleasant, in Pennsylvania 104
Whitehall, in Rhode Island 105
Georgian Religious Architecture 106
The Quaker Meeting House 106
The Touro Synagogue 107
Trinity Church 107
The “Colonial Church” 108
The Mission System in Texas, Arizona, and California 109
Fast Forward: New England Meets Hawaii 109
Texas Missions 109
San José y San Miguel de Aguayo 110
Arizona Missions: San Xavier del Bac 110
San Xavier del Bac 110
California: The Mission Santa Barbara 112
Mission Santa Barbara 113
The Crafted Object 114
Ben Franklin’s Porringer 114
Cultural Contexts: Colonial Money 114
Paul Revere the Silversmith 115
Sons of Liberty Bowl 116
The Line of Beauty 116
The Combination of Aesthetic Languages in Decorative Objects 116
The Colonial Artisan 118
John Goddard, Master Cabinetmaker 118
The Cosmopolitan Wigwam 119
Artists Painting 120
Copley and West: Beacon Hill and the Academy 121
Copley’s Colonial Portraits 122
West’s History Paintings 125
Painting, Portraiture and Race 128
Justus Kühn’s Henry Darnall III as a Child 128
Sea Captains Carousing at Surinam, by John Greenwood 128
Watson and the Shark 129
Conclusion 131
Part 2: From Ancient Times to the Late Colonial Era 133
Chapter 5: Art, Revolution, and The New Nation, 1776—1828 135
The American Revolution in Print, Paint, and Action 135
Print Wars 136
The Deplorable State of America 136
The Bloody Massacre 137
“Playing Indian” 138
Reinterpreting the Revolution: John Trumbull 139
Cultural Contexts: Festivals and Parades 139
The Death of General Warren at the Battle of Bunker’s Hill, 17 June, 1775 140
Celebrating Franklin and Washington 141
Franklin as Experimentalist 141
The “Athenaeum Portrait” 143
Fast Forward: Washington as Zeus 144
The African American Enlightenment 145
Scipio Morehead’s portrait of Phyllis Wheatley 145
Liberty Displaying the Arts and Sciences by Samuel Jennings 147
Joshua Johnston 147
Fast Forward: Two Versions of Education 147
Classical America 149
Thomas Jefferson’s Western Prospect 150
Monticello 150
The Virginia State Capitol 151
The University of Virginia 152
Capitols in Stones and Pigment 153
Charles Bulfinch, Architect 153
The United States Capitol 153
A Portrait of the Capitol: Morse’s The House of Representatives 154
Cultural Contexts: The White House 156
Domestic Life 156
Gore Place, a Neoclassical Home 157
A Carved Mahogany Chair, attributed to Samuel McIntire 158
Cultural Contexts: The China Trade 159
Ladies’ Furnishings 159
Fast Forward: A Greek Revival Interior 160
Women’s Artistic Education 160
Painting in the New Nation 163
Portraiture and Commercial Life: Gilbert Stuart 163
The Skater 163
Painting and Citizenship: Charles Willson Peale 164
The Staircase Group 164
The Artist in his Museum 165
Myth and Eroticism: John Vanderlyn 166
Ariadne Asleep on the Isle of Naxos 166
Early Romanticism: Washington Allston 167
Elijah in the Desert 167
Moonlit Landscape (Moonlight) 168
Conclusion 169
Chapter 6: The Body Politic, 1828—1865 171
The Language of Emotion 171
Home and Family 171
Lilly Martin Spencer 172
“Sentimentalism in Nature” 173
Sculpture 173
Harriet Hosmer 173
Edmonia Lewis 174
Hiram Powers 174
Gothic America 176
Lyndhurst Architect, by Alexander Jackson Davis 176
Moss Cottage, Oakland, California 178
Gothic Revival Furnishings 178
The American Woman’s Home 178
Egyptian Revival 180
The Washington Monument 180
A Silver Sauceboat 180
Art of the People 180
Quilts and Women’s Culture, 1800—1860 180
Baltimore Album Quilts 183
Friendship Quilts 183
Raising Funds and Social Awareness 184
Folk and Vernacular Traditions 184
Rural Painters 185
Silhouettes 186
“Just for Pretty” 187
Fraktur 187
Native Imagery in Vernacular Art 188
Shaker Art and Innovation 190
Shaker Box 190
Shaker Furniture 191
Shaker Spiritual Visions 191
The Cultural Work of Genre Painting 193
Culture vs. Commerce: Allston, Morse, Mount 193
The Poor Author and the Rich Bookseller 193
The Gallery of the Louvre 193
The Painter’s Triumph: A Reply to Morse 194
Woodville: the Pleasures and Perils of the Public Sphere 196
War News from Mexico 196
Politics in an Oyster House 197
Street Scenes 197
John Carlin 198
Young Husband: First Marketing, by Lilly Martin Spencer 198
Framing the Discourse: Hannah Stiles and the “Trade and Commerce Quilt” 199
Mount: Abolitionism and Racial “Balance” 200
Farmers Nooning 200
Eel Spearing at Setauket 201
Antebellum Anti-Sentimentalist: Blythe 202
Slaves and Immigrants 203
John Quidor 203
Minstrel Shows 206
Conclusion: Domesticity and the West 207
Chapter 7: Native and European Arts at the Boundaries of Culture: The Frontier West and Pacific Northwest,
1820s—1850s 209
Plains Cultures of the West: From Both Sides 210
The Myth of the Frontier 211
Setting Differences Aside on the New Frontier 211
Native Plains Culture in the 1820s and 1830s 212
The Vision Quest 212
Picturing Prowess 213
Chief Máh-to-tóh-pa as Portrayed by George Catlin 213
Máh-to-tóh-pa’s Depictions of his Own Heroic Exploits 214
“Authentic” Indians 215
Plains Women’s Artistry in Quills and Beads 216
Quillwork 216
A Northern Plains Dress 217
Trade Beads 218
George Catlin’s Indian Gallery 218
William Fiske’s Portrait of Catlin 219
Documenting “A Dying Race” 219
Fast Forward: The Indian as Spectacle 221
Living Traditions and Icons of Defeat 222
The “Vanishing” American Indian 222
The “Good” Indian 222
The “Bad” Indian 224
George Bingham and the Domestication of the West 225
Daniel Boone Escorting Settlers Through the Cumberland Gap 225
Bingham’s Aesthetic 226
Fur Traders Descending the Missouri 226
Framing the Discourse: Institutional Contexts: The American Art-Union 228
The Bawdy West 229
Native Arts of Alaska 230
Tlingit Art: Wealth and Patronage on the Northwest Coast 231
The Whale House of the Raven Clan 231
Raven and the Sun 232
Methods and Techniques: Formlines and Ovoids: The Building Blocks of Northwest Coast Design 232
Trade Goods 234
The Concept of at.óow 235
Aleut, Yupik, and Inupiaq Arts: Hunters and Needleworkers 235
Fast Forward: Tlingit Art, Ownership, and Meaning Across the Generations 236
A Waterproof Parka of Seal Intestine 236
A Hunting Visor 237
Bending Wood and Bone 238
Fast Forward: Intercultural Arts in Nome, Alaska, circa 1900 238
Conclusion 239
Chapter 8: Why Paint Landscapes? 241
Framing the Discourse: A Brief History of the Word “Landscape” 243
Picturesque Beginnings 243
Looking East from Denny Hill 243
View Near Fishkill 243
Picturesque Parks 245
Mount Auburn 245
Framing the Discourse: Memorializing Death 246
Central Park 247
Picturesque Architecture: Andrew Jackson Downing 248
Rotch House 248
The Anti-Picturesque: Functionalism and “Yankee Ingenuity” 249
Mechanized Manufacture 250
Balloon Frame Construction 250
Interchangeable Parts 251
The Sublime: The Formation and Development of the Hudson River School of Painting 252
The Practice of Landscape Appreciation 252
Catskill Mountain-House 252
Niagara Falls 253
Politics By Other Means: Thomas Cole 253
Expulsion from the Garden of Eden 254
The Course of Empire 255
Democratizing the Landscape: Asher B. Durand 258
Kindred Spirits 258
The New National Landscape: Frederic Edwin Church 259
The Influence of Claude Lorrain and the “Middle Landscape” 259
Merging the Local with the National: New England 259
Geology and Church’s “Great Picture”: Heart of the Andes 261
Feminizing the Landscape: Luminism 263
John Kensett 264
Fitz Henry Lane 265
Sanford R. Gifford 265
Representing War 266
Daguerreotypes and Early Photography 268
Photographic Documents of Slavery 269
Mathew Brady and his “Gallery of Illustrious Americans” 270
The Photographic Image and the Civil War 271
Images of the Fallen 271
War and Peace 274
Prisoners from the Front by Winslow Homer 275
Two Versions of the Home Front 275
Conclusion 277
Part 3: From Ancient Times to the Late Colonial Era 279
Chapter 9: Post-War Challenges: Reconstruction, the Centennial Years, and Beyond, 1865—1900 281
Representing “Race”: From Emancipation to Jim Crow 282
Thomas Nast: Racial Caricature and the Popular Press 282
The Mixed Legacy of Emancipation: Monuments to Freedom 284
The Freedman 284
A Quilt by a Former Slaveowner 284
Saint-Gaudens’s Memorial to Robert Gould Shaw: Common and Uncommon Soldiers 286
The Post-War South: Richard Brooke and Winslow Homer 287
A Pastoral Visit 287
Dressing for the Carnival 288
The Gulf Stream 289
The Turtle Pound 290
Harriet Powers’s Bible Quilts: Popular Religion and Black Emancipation 291
Henry Ossawa Tanner 292
The Banjo Lesson 292
Facing Off: Divided Loyalties 293
Compositional and Thematic Polarity 294
The Morning Bell 294
The Persistence of the Past: The Colonial Revival 295
The Puritan 296
The Shingle Style 296
Quaint, Endearing, and Comforting 297
Popular Prints and the Emergence of Cultural Hierarchies 298
Chromolithography 298
Methods and Techniques: Print Techniques 299
The Post-War West: Expansion, Incorporation, and the Persistence of the Local, 1860—1900 300
Landscape Art, Photography, and Post-War National Identity 300
“Booster Artwork”: Yosemite and the Sierra Nevadas 300
Cultural Contexts: Circulating the West 301
“Disinterested Knowledge”: Yellowstone and other Surveys of the West 302
New Mexico and Arizona Territories: Local Cultures and Expanding Markets 304
Pueblo Pottery and Carving 306
Navajo Weaving and Worldview 307
The Art of the Penitente Brotherhood 309
The Clash of Cultures, From Both Sides 311
Plains Ledger Drawings: Native Commemoration in an Era of Change 312
Sitting Bull’s Exploits as depicted by Four Horns 312
Prison Drawings from Fort Marion 312
Wohaw of Two Worlds 313
Black Hawk’s Vision of a Thunder Being 314
The Noble Indian and the “Vanishing Race,” Once Again 315
The End of the Trail 316
The Dawes Act 316
The Song of the Talking Wire 316
Myths and Legends: The Past as Spectacle: Buffalo Bill Cody’s “Wild West” 317
The North American Indian by Edward Curtis 318
“Alaska Views” 319
Conclusion 319
Chapter 10: A New Internationalism: The Arts in an Expanding World, 1876—1900 321
The Cosmopolitan Spirit in American Art 322
Generational Divisions 323
The Artist and His Studio 323
Breaking Home Ties 326
Japonisme: The Meeting of East and West 326
Framing the Discourse: Race and Class: “Highbrow” and “Lowbrow” 327
American Impressionism 327
Childe Hassam: Aestheticizing the City 328
John Henry Twachtman: Beyond Impressionism 329
American Expatriates: At Home Abroad 329
John Singer Sargent 330
James Abbott McNeill Whistler 332
Methods and Techniques: The Fine Art Print 334
Mary Cassatt and Henry Ossawa Tanner 334
The Marketplace of Styles 336
The Crazy Quilt Mania and the Philadelphia Exposition 336
The New American Architecture 338
The Influence of the Ecole des Beaux Arts in Paris 338
Richard Morris Hunt 339
Origins of the Skyscraper 339
History and the Individual Talent: H. H. Richardson 339
Trinity Church, Boston 339
Architecture and the New Metropolis: Louis Sullivan 341
The Department Store 342
The Office Building 343
The Transportation Building 343
Reform and Innovation: Handcraft and Mechanization in the Decorative Arts, 1860—1910 344
Origins in Social Theory 344
Herter Brothers 345
Cultural Contexts: Inventions, Patents, and the (Non)Collapsible Chair 346
Women Designers and Artistic Collaboration 346
The Arts and Crafts Movement 347
Cultural Contexts: Hawaiian Quilts and Cross-Cultural Collaborations 347
California Baskets and the Arts and Crafts Movement 351
Tiffany, American Indian Basketry Design, and the 1900 Paris Exposition 353
Awakening the Senses: The Glasswork of Tiffany and Company and John La Farge 354
Conclusion 355
Chapter 11: Exploration and Retrenchment: The Arts in Unsettling Times, 1890—1900 357
Victorian into Modern: Exploring the Boundaries between Mind and World 358
Framing the Discourse: Victorian 358
The Antimaterialist Impulse: Symbolism and Tonalism 359
George Inness 360
Willard Metcalf 360
Albert Pinkham Ryder 361
Trompe l’Oeil: “The Real Thing”? 361
Cultural Contexts: American Art and the New Perceptual Psychology 362
John Haberle 363
Late Homer, Early Modernism 364
Right and Left 364
Feminine/Masculine: Gender and Late-Nineteenth-Century Arts 366
Women Artists and Professionalization 366
A Woman’s Self-Portrait 367
Men Painting Women; Women Painting Themselves 368
Getting Together for Tea 368
The Life of Leisure 368
The Female Experience 369
The Artifice of Feminine Behavior 370
Thomas Eakins: Restoring the (Male) Self 371
Mechanization Sets the Terms 371
Life of the Mind, Life of the Body 373
Portrait of Frank Hamilton Cushing: Crossing Cultures 375
Reasserting Cultural Authority 377
The Universal Language of Art 378
Monumental Architecture in the Age of American Empire 378
The Library of Congress 380
The Columbian Exposition in Chicago, 1893 382
Photography and Modernity 384
Jacob Riis: “Capturing” the Slum 384
How the Other Half Lives 385
The People Take the Pictures: Democratizing Photography with the Kodak 386
‘Modernizing Vision’: Eadweard Muybridge and Instantaneous Photography 386
Conclusion 387
Part 4: From Ancient Times to the Late Colonial Era 389
Chapter 12: The Arts Confront the New Century: Renewal and Continuity, 1900—1920 391
Early-Twentieth-Century Urban Realism 392
Framing the Discourse: Modernism/Modernity/Modernization 392
The Ashcan Artists 393
Robert Henri: “The Art Spirit” 393
George Bellows 393
John Sloan and the Act of Looking 394
Ethnic Caricature 397
Gender and the Ashcan Artists 399
Graphic Satire in The Masses 399
The Social Documentary Vision: Lewis Hine 400
The Road to Abstraction 401
Cultural Nationalism/Aesthetic Modernism: Alfred Stieglitz 402
Fast Forward: Disney’s Fantasia: Middlebrow Modernism 403
Stieglitz as Gallery Owner 403
Stieglitz as Magazine Publisher 404
Stieglitz’s Equivalents 404
Stieglitz and His Circle 404
Cultural Contexts: The Lyrical Left 405
Organic Abstraction: Arthur Dove 405
Georgia O’Keeffe 407
Stieglitz and O’Keeffe: “Love in the Machine Age” 411
Fast Forward: Vision as Meditation 411
An Organic Expressionist: John Marin 412
Photography: From Pictorialism to “Straight” 413
Establishing Photography as a Fine Art 414
The Photo-Secession 414
“Pictorialist” Photography 414
The Beginnings of Photographic Modernism 416
The Steerage 416
Paul Strand 417
Fast Forward: Modernist Photography in the 1930s and the f.64 Group 418
Conclusion 419
Chapter 13: Transnational Exchanges: Modernism and Modernity Beyond Borders, 1913—1940 421
American Apprenticeship to European Modernism 422
Before the Armory Show 422
An American in Paris 422
The Armory Show 424
Duchamp’s Nude Descending a Staircase No. 2 425
American Modernity, From Both Sides 426
New York dada: A Transatlantic Collaboration 426
Framing the Discourse: Winning the Public Over to Modernism 426
Emigré Influence 427
Gender Play 428
The Primitive and the Modern 429
Duchamp and the “Readymade” 431
Alexander Calder: Reinventing the Gadget 432
Expatriation and Internal Exile Between the Wars 434
Ironic Distance: Gerald Murphy and Josephine Baker 434
Homosexual Exiles: Romaine Brooks, Marsden Hartley, and Charles Demuth 436
Comfortably at Home in the Not-at-Home: Stuart Davis 439
Sculpture: The Primitive and the Modern 440
Direct Carving: Modernist Primitivism in Sculpture 440
William Zorach 441
John Flannagan 441
A Stylized Modernism: European Emigrés and American Sources 442
Elie Nadelman 442
Gaston Lachaise 443
Alexander Archipenko 444
Architectural Encounters: Transnational Circuits 444
The Early Career of Frank Lloyd Wright 445
American Architecture Abroad 447
“Silo Dreams”: American Industrial Architecture and European Modernism 447
The Modern American Industrial Factory 448
Conclusion 449
Chapter 14: The Arts and the City, 1913—1940 451
The Skyscraper in Architecture and the Arts 451
Designing for Modernity: The “Moderne” Style 453
Luxury Interiors 454
Glamorous Garments 454
Cubism in the American Grain 455
The View from the Top 455
Cubistic Camerawork 456
The Skyscraper City 456
Imaginary Skyscrapers and Visionary Artists 458
Y.T.T.E. 458
Simon Rodia’s Watts Towers 458
The Urban/Industrial Image in 1910—30 459
From Fragmentation to Unity 459
Max Weber 459
Joseph Stella 460
Precisionism: Modernist Classicism and the Aesthetics of Immobility 463
Charles Sheeler 463
“Tombstones of Capitalism” 464
The Commercial Landscape of the Everyday 466
“Modern Vernacular” 466
Stuart Davis 466
Photography and Advertising: Modernism Allied to Commerce 467
Steichen as Ad Artist 468
The Painter, the Poet, and the City: Charles Demuth’s Poster Portrait of William Carlos Williams 468
The City and Popular Media: Comics and Animation 469
Little Nemo 470
George Herriman’s Krazy Kat 470
A Comic Strip by a Modernist Artist 471
The Beginnings of Animation: “Felix the Cat” 472
The Human City: Spectacle, Memory, Desire 474
The City as Spectacle: Reginald Marsh 474
Quiet Absorption: Isabel Bishop’s Women 475
The Emergence of Urban Black Culture 476
Archibald Motley, Jr. 476
The Margins of the Modern: Edward Hopper and Charles Burchfield 477
Edward Hopper 478
Charles Burchfield 480
The Dream-life of Popular Culture 480
Joseph Cornell 481
Henry Darger 482
Conclusion 483
Chapter 15: Searching for Roots, 1918—1940 485
The Rediscovery of America 485
Forging Continuities with the Nineteenth-century Craft Tradition 486
Framing the Discourse: The Usable Past 486
Sheeler’s Barns 486
Folk Art Revival 488
The Dark Side of the “Folk” 488
The Regionalist Philosophy 488
“Commodification” of Folk and Native Art 489
The Politics of Artistic Regionalism 490
John Steuart Curry 490
Grant Wood 491
Thomas Hart Benton 493
Art Colonies and the Anti-modern Impulse 494
Romantic Regionalism in California and New Mexico 495
“Mission Revival” Style 495
“Pueblo Revival” or “Santa Fe” Style 496
The Biography of a Building 497
Norman Rockwell: Illustrator for the American People? 498
Preservation, Tradition, and Reinvention in the Twentieth Century 500
Potters, Painters and Patrons: The Market for Pueblo Arts 500
Pueblo Watercolors and Awa Tsireh 500
Maria Martinez and the Marketing of Pueblo Pottery 502
The Reinvention of Tradition: Twentieth-Century Santero Art 503
Festivals: Invented Traditions and Ancestral Memories 504
Fast Forward: The Late-Twentieth-Century Santero Revival 504
“Fiestas Patrias” 505
Hispanic Ethnic Festivals 505
“Days of the Dead” 505
Carnival 506
Mardi Gras “Tribes” 507
The “New Negro” Movement and Versions of a Black Art 508
The Black Artist and the Folk 509
Sargent Johnson 509
William Johnson 510
Vernacular Black Artists of the Twentieth Century 511
Horace Pippin 511
William Edmondson 512
Bill Traylor 513
James Hampton 513
Fast Forward: Lonnie Holley: A Contemporary Vernacular Artist 514
Conclusion 515
Chapter 16: Social Visions: The Arts in the Depression Years, 1929—91 517
The Depression and the Narrative Impulse 518
Mexican Muralists and Their Influence on Public Art 518
Framing the Discourse: Taylorization and the Assembly Line “Speed-up” 519
Diego Rivera in Detroit 521
José Clemente Orozco at Dartmouth 522
Charles White 523
Social Realism 524
Ben Shahn 524
Fast Forward: The Continuing Relevance of Mexican Art 525
Philip Evergood 525
Epics of Migration 526
Jacob Lawrence 527
Aaron Douglas 528
Dis-Articulating Identity: Isamu Noguchi 530
Anti-Fascism and the Democratic Front: Abstraction and Social Surrealism 530
Federal Patronage: Roosevelt’s Works Progress Administration (WPA) 533
Art Programs of the New Deal 533
A Fresco for a Garment Workers’ Community 533
A Native American Muralist at the Department of the Interior 534
A Typical Post Office Mural 535
A New Deal for Indians 535
The Renovation of Chief Shakes’s House 536
Archaism in Public Sculpture 536
The Varieties of Photographic Documentary 537
The “File”: The Farm Security Administration and “the Camera with a Purpose” 537
Dorothea Lange 538
Margaret Bourke-White and Walker Evans: Documentary Extremes 538
You Have Seen Their Faces 539
Let Us Now Praise Famous Men 539
Design and Architecture in the 1930s: Corporate Patronage and Individual Genius 540
Mass-Marketing the Modern: Industrial Design 541
The Streamlined Style 541
The Machine Art Show at the Modern 542
Lewis Hine’s Men at Work 543
Corporate Utopias: The World’s Fairs of the 1930s 544
Frank Lloyd Wright in the 1930s 545
Fallingwater 547
Conclusion 549
Chapter 17: Cold War and the Age of the Atom, 1945—1960: Consensus and Anxiety in the Arts 551
The Crisis of the Subject: From Narrative to Myth and Symbol in the 1940s 552
“Magic Realism” 552
Andrew Wyeth 553
Henry Koerner 553
“Modern Man” and “Primitive” Ritual 553
Arshile Gorky: Abstraction and Memory 554
The Origins of Abstract Expressionism 555
Early Jackson Pollock 555
Pollock’s Drip Paintings 557
Methods and Techniques: Jackson Pollock and Navajo Sand Painting 557
The Abstract Expressionist Movement 557
Color Field Painting 559
The Abstract Expressionist Sculptor: David Smith 559
Cultural Contexts: Abstract Art and American Quilts 560
Framing the Discourse: Abstract Expressionism and the Rhetoric of Nature 561
The “Triumph” of Abstract Expressionism and Beyond 561
The Contradictions of Success 561
Helen Frankenthaler and the “Soak-Stain” Method 562
Pacific Rim Influences 563
Mark Tobey 563
All-Over Composition and the Break from Hierarchy 564
Image Culture, Gender Crisis, and Identity in the 1950s 564
“The Girl Back Home” 565
Willem de Kooning’s Woman 565
George Tooker’s Waiting Room 566
Beyond Abstract Expressionism 566
Jasper Johns 567
Robert Rauschenberg 569
Photography: From Photojournalism to the Eccentric Eye 571
Photojournalism 571
Robert Capa 572
Eugene Smith 572
The Family of Man 572
New York Photographers 574
Diane Arbus 574
Robert Frank 575
Post-war Design and the Domestication of Modernism 576
Museums and the Marketing of “Good Design” 576
Cultural Contexts: Communities of Taste 577
Charles and Ray Eames 578
Machines to Bodies: Biomorphic Design 579
The International Style: Architecture as Icon 580
Mies van der Rohe and the Corporate Building 580
Organic Design: Architecture as Sculpture 582
Frank Lloyd Wright’s Guggenheim Museum 582
Eero Saarinen’s TWA Terminal 584
Conclusion 585
Part 5: From Ancient Times to the Late Colonial Era 587
Chapter 18: Art into Life: 1960—1980 589
The Space and Objects of Everyday Life: Performance, Pop, and Minimalism 589
Performance 590
Happenings 590
Fluxus 591
Pop Art, Consumerism, and Media Culture 592
The Store and The Factory 593
The Commercial Unconscious 594
Warhol’s Disaster Series 595
War and Consumption: F-111 597
Minimalism 598
Precursors of Minimalism in Painting 598
Donald Judd and Carl Andre 598
Critical Debates about Minimalism 601
Framing the Discourse: The Politics of Assemblage 601
Sol LeWitt and Dan Flavin: the Role of the Viewer 602
The Figure in Crisis 603
Bodily Dispersions: Postminimalism, Dance, and Video 603
Eva Hesse and Postminimalism 603
Yvonne Rainer and a New Choreography 604
Video and the new-media body 605
The Subject and the System: Conceptual Art and Body Art 606
Defining Conceptual Art 606
Contractual Procedures 606
Information and its Failures 607
The Artist’s Body: Eleanor Antin and Chris Burden 609
Figures of Resistance 610
T. C. Cannon and Betye Saar: Reanimated Stereotypes 610
Murals, on and off the wall 612
American Spaces Revisited 613
Challenging the Museum 613
Hans Haacke and Vito Acconci 614
Mierle Laderman Ukeles 615
The Mediated Landscape 615
Robert Smithson 616
Christo and Jeanne-Claude 616
Fast Forward: Mark Dion 617
Ana Mendieta 618
Broken Homes 619
Womanhouse 619
Gordon Matta-Clark 620
Framing the Discourse: Art and Feminism in the 1970s 620
Conclusion 621
Chapter 19: American Art in Flux, 1980—present 623
Decenterings: the 1980s 623
“The Death of the Artist” in Postmodernism 624
Film Stills by Cindy Sherman 624
Sherrie Levine’s Rephotographs 625
Framing the Discourse: 1970s Feminism vs 1980s Feminism 626
Postmodern Theories of Reference 627
Postmodern Pastiche in Architecture 627
Art and Language 628
Jenny Holzer 628
Guerrilla Girls 629
Glenn Ligon 630
Consumption, Critique, and Complicity 631
Haim Steinbach 631
Jeff Koons 632
David Hammons 633
Krzysztof Wodiczko 634
Jaune Quick-To-See Smith 635
The Culture Wars 635
Andres Serrano’s Piss Christ 636
Controversies over Public Funding 637
The AIDS Crisis 637
The New Arts of Memory 639
Monuments and Memorials Redefined 639
Vietnam Veterans’ Memorial 639
Memory and the Museum 641
James Luna 641
Fred Wilson 642
Craft Anachronism 642
Samplers by Elaine Reichek 642
Clay Figures by Roxanne Swentzell 643
Silhouettes by Kara Walker 644
Contemporary American Art and Globalization 647
Nomads 647
Cyborgs 650
Hybrids 652
Conclusion 655
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.
- Art History Interactive CD for Students - PC Users
Allen
© 2004 | Prentice Hall | CD-ROM Only | Instock
ISBN-10: 0131838083 | ISBN-13: 9780131838086 - InterWrite PRS (Personal Response System)
InterWrite PRS & Allyn & Bacon/Longman
© 2005 | Unknown | Electronic Supplement | Instock
ISBN-10: 0205436951 | ISBN-13: 9780205436958 - ResearchNavigator.com Guide
Allyn & Bacon
© 2007 | Allyn & Bacon | Paper; 48 pages | Instock
ISBN-10: 0205517196 | ISBN-13: 9780205517190 - ResearchNavigator.com Guide
Allyn & Bacon & Barr
© 2007 | Allyn & Bacon | Paper; 48 pages | Instock
ISBN-10: 020552396X | ISBN-13: 9780205523962
Buy from myPearsonStore - What Every Student Should Know About Avoiding Plagiarism
Stern
© 2007 | Longman | Paper; 80 pages | Instock
ISBN-10: 0321446895 | ISBN-13: 9780321446893
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Anderson, Carrell & Widdifield
© 2007 | Allyn & Bacon | Paper | Instock
ISBN-10: 0205499236 | ISBN-13: 9780205499236
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Greer
© 2007 | Longman | Paper; 64 pages | Instock
ISBN-10: 0321447379 | ISBN-13: 9780321447371
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Trim
© 2007 | Longman | Paper | Instock
ISBN-10: 0321448480 | ISBN-13: 9780321448484
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Cox
© 2007 | Allyn & Bacon | Paper | Instock
ISBN-10: 0205505457 | ISBN-13: 9780205505456
Buy from myPearsonStore - What Every Student Should Know About Procrastination
Hoffman
© 2008 | Allyn & Bacon | Paper; 64 pages | Instock
ISBN-10: 0205582117 | ISBN-13: 9780205582112
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Munger & Campbell
© 2007 | Longman | Paper | Instock
ISBN-10: 0321445317 | ISBN-13: 9780321445315
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Longman
© 2007 | Longman | Paper; 72 pages | Instock
ISBN-10: 0321447360 | ISBN-13: 9780321447364
Buy from myPearsonStore - What Every Student Should Know About Using a Handbook
Murray
© 2009 | Longman | Paper; 80 pages | Instock
ISBN-10: 0205563848 | ISBN-13: 9780205563845
Buy from myPearsonStore - iClicker Classroom Response System
iClicker & Allyn & Bacon/Longman
© 2008 | Unknown | Electronic Supplement | Instock
ISBN-10: 0205594506 | ISBN-13: 9780205594504 - InterWrite PRS (Personal Response System)
InterWrite PRS & Allyn & Bacon/Longman
© 2005 | Unknown | Electronic Supplement | Instock
ISBN-10: 0205436951 | ISBN-13: 9780205436958 - ResearchNavigator.com Guide
Allyn & Bacon
© 2007 | Allyn & Bacon | Paper; 48 pages | Instock
ISBN-10: 0205517196 | ISBN-13: 9780205517190 - ResearchNavigator.com Guide
Allyn & Bacon & Barr
© 2007 | Allyn & Bacon | Paper; 48 pages | Instock
ISBN-10: 020552396X | ISBN-13: 9780205523962
Buy from myPearsonStore - What Every Student Should Know About Avoiding Plagiarism
Stern
© 2007 | Longman | Paper; 80 pages | Instock
ISBN-10: 0321446895 | ISBN-13: 9780321446893
Buy from myPearsonStore - What Every Student Should Know About Citing Sources with APA Documentation
Anderson, Carrell & Widdifield
© 2007 | Allyn & Bacon | Paper | Instock
ISBN-10: 0205499236 | ISBN-13: 9780205499236
Buy from myPearsonStore - What Every Student Should Know About Citing Sources with MLA Documentation
Greer
© 2007 | Longman | Paper; 64 pages | Instock
ISBN-10: 0321447379 | ISBN-13: 9780321447371
Buy from myPearsonStore - What Every Student Should Know About Practicing Peer Review
Trim
© 2007 | Longman | Paper | Instock
ISBN-10: 0321448480 | ISBN-13: 9780321448484
Buy from myPearsonStore - What Every Student Should Know About Preparing Effective Oral Presentations
Cox
© 2007 | Allyn & Bacon | Paper | Instock
ISBN-10: 0205505457 | ISBN-13: 9780205505456
Buy from myPearsonStore - What Every Student Should Know About Procrastination
Hoffman
© 2008 | Allyn & Bacon | Paper; 64 pages | Instock
ISBN-10: 0205582117 | ISBN-13: 9780205582112
Buy from myPearsonStore - What Every Student Should Know About Researching Online
Munger & Campbell
© 2007 | Longman | Paper | Instock
ISBN-10: 0321445317 | ISBN-13: 9780321445315
Buy from myPearsonStore - What Every Student Should Know About Study Skills
Longman
© 2007 | Longman | Paper; 72 pages | Instock
ISBN-10: 0321447360 | ISBN-13: 9780321447364
Buy from myPearsonStore - What Every Student Should Know About Using a Handbook
Murray
© 2009 | Longman | Paper; 80 pages | Instock
ISBN-10: 0205563848 | ISBN-13: 9780205563845
Buy from myPearsonStore - iClicker Classroom Response System
iClicker & Allyn & Bacon/Longman
© 2008 | Unknown | Electronic Supplement | Instock
ISBN-10: 0205594506 | ISBN-13: 9780205594504
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Pearson Higher Education offers special pricing when you choose to package your text with other student resources. If you're interested in creating a cost-saving package for your students contact your Pearson Higher Education representative.