By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A spouse to American Art provides 35 newly-commissioned essays through leading scholars that discover the method, historiography, and present country of the sector of yank artwork history.
- Features contributions from a stability of validated and rising students, artwork and architectural historians, and different specialists
- Includes a number of paired essays to stress discussion and debate among students on vital modern concerns in American artwork history
- Examines issues similar to the methodological stakes within the writing of yank artwork heritage, altering rules approximately what constitutes “Americanness,” and the connection of paintings to public culture
- Offers a desirable portrait of the evolution and present country of the sphere of yank artwork heritage and indicates destiny instructions of scholarship
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Extra resources for A Companion to American Art
All these discriminations (formal innovation, problematization of representation, negation of ideology) are judgments of quality. While beauty is hardly a more comfortable topic for modernists than for Americanists, modernists are far keener, if sometimes covertly, to make judgments. 6 T h e A m e r i ca n i st / M o d e r n i st D i v i d e ◼◼◼ 19 Indeed Americanists are often proactive in their efforts to write about art that they recognize to be aesthetically or politically conservative. On their motivations for this equanimity, however, Americanists as a group have been uncertain: is it merely that much American art has been undervalued, or is quality inherently a corrupt criterion for scholarship?
Opening only through such questions onto political matters. History (and Politics) If the two fields are distinguished by the degrees and characteristics of their orientation to form, they are likewise distinguished by the lenses they use to view history. The vast majority of Americanist scholarship operates in the mode of the social (or, perhaps more precisely, cultural) history of art. Context—chronological, local, and national—matters, so scholars carefully offer information about an artist’s studio, her training and reading, her relationship to recent problems reported by the popular press, and, at least somewhat more than modernists do, her biography.
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).
A Companion to American Art by John Davis, Jennifer A. Greenhill, Jason D. LaFountain