American Encounters: Art, History, and Cultural Identity / Edition 1

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Overview

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.

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Editorial Reviews

From the Publisher

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.

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Product Details

  • ISBN-13: 9780130300041
  • Publisher: Pearson
  • Publication date: 11/29/2007
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 686
  • Sales rank: 279,346
  • Product dimensions: 8.50 (w) x 10.80 (h) x 1.20 (d)

Table of Contents

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

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