By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A spouse to American Art provides 35 newly-commissioned essays by way of leading scholars that discover the method, historiography, and present kingdom of the sphere of yankee artwork history.
- Features contributions from a stability of verified and rising students, paintings and architectural historians, and different specialists
- Includes numerous paired essays to stress discussion and debate among students on vital modern matters in American paintings history
- Examines themes similar to the methodological stakes within the writing of yankee artwork heritage, altering principles approximately what constitutes “Americanness,” and the connection of paintings to public culture
- Offers a desirable portrait of the evolution and present nation of the sphere of yank artwork heritage and indicates destiny instructions of scholarship
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Extra info for A Companion to American Art
In the last few decades, many modernists have wanted to see a link between radicality of form and radicality of politics. In this mode of scholarship, the new possibilities of thought opened by avant-garde art are far more important than any local or historically specific objects or topics that might be represented, or any ideas that mass culture might formulate about them. Associated with these valuations for many modernist scholars is the imperative (influenced by readings of Theodor Adorno, for example, as well as by modernist art itself) that art take the form of negation—critiquing previous habits of sight, for example, and ultimately false political consciousness.
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). 5 The first part of the chapter sketches some major areas of difference between the fields; the second half offers a case study comparing their approaches to Jackson Pollock, one of the very few artists heavily studied in both fields.
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