By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A significant other to American Art provides 35 newly-commissioned essays by means of leading scholars that discover the method, historiography, and present nation of the sphere of yankee paintings history.
- Features contributions from a stability of validated 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 artwork history
- Examines issues akin to the methodological stakes within the writing of yankee artwork historical past, 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 yankee artwork background and indicates destiny instructions of scholarship
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Additional resources for A Companion to American Art
For the generation that saw the explosive growth of Americanist art history thirty years ago, however, readings of Marx mingled with interests in Pragmatism, social reform, and the legacies of New Deal liberalism, as epitomized, for example, in the writings of John Dewey. Civil rights was perhaps the most indelible chapter of recent history. Such progressive values as free speech, equal rights, and public health are centrally important in Americanist accounts of the past. For their part, modernists mixed their Marx with such figures as Theodor Adorno, Roland Barthes, Walter Benjamin, and Jacques Lacan.
Berger traces the “ascendance of close looking” in the field during the 1980s and analyzes the writings of Jules Prown, whom he credits with codifying this approach as a methodology. ” In her response, Greenhill fleshes out Berger’s account of Prown’s legacy, bringing his methods into conversation with newer work in affect theory and critical approaches to “surface reading” in scholarship on literature. She argues that “intense engagement” is a better way to describe Prown’s practice than “close looking,” and endeavors to demonstrate how much scholars would miss if they adopted Berger’s conception of “the visual”—what it is, how it works, where it is located, and how it might be perceived by interpreters.
Rather, the aim is to demonstrate that vision itself is shaped by social discourse, and, further, to enable the possibility of breaking the contemporary, patriarchal structure of sight. ” Also appearing in The Art Bulletin, Davis’s comprehensive survey recounted the growth and the many changes in the Americanist field since the time of Corn’s account: the involvement of art history in the US culture wars around 1990, for example, as well as the further development of institutional critique and of African American, Asian American, and Chicano art histories.