By John Davis, Jennifer A. Greenhill, Jason D. LaFountain
A spouse to American Art offers 35 newly-commissioned essays via leading scholars that discover the technique, historiography, and present country of the sector of yankee artwork history.
- Features contributions from a stability of confirmed 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 matters in American paintings history
- Examines themes equivalent to the methodological stakes within the writing of yank 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 info for A Companion to American Art
Far more significantly, it seems to us that Americanist and modernist bodies of work still have remarkably distinctive characteristics, even on the occasions when they treat the same material. This chapter, then, asks why this division has been so persistent, and it identifies several historical differences of method and A Companion to American Art, First Edition. Edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc.
She provides a nuanced analysis of twentieth-century Canadian American artistic exchange by exploring the politics and economics of cultural interdependence and how the practices of American artists Barnett Newman and Allan Sekula have processed these relationships. Newman’s Canadian visit reveals the tensions between the internationalism espoused by the abstract artists who invited him to the “Red” province of Saskatchewan in 1959 and the intense cultural nationalism advocated by a more conservative Canadian government.
They address physical, geographical boundaries as well as more atmospheric conceptual borders, offering new maps of American art. Wendy Bellion and Mónica Domínguez Torres explore the possibilities and challenges of team-teaching American art history in an expanded geographical scope. What educational opportunities emerge when scholars combine their energy, knowledge, and resources in the classroom? Drawing on their experiences c o-teaching a University of Delaware graduate seminar, “Colonial Art Across North America,” the authors share practical strategies for organizing and managing a course that combines the study of art from colonial settlements ranging from New France and British America to New Spain and the Caribbean.
A Companion to American Art by John Davis, Jennifer A. Greenhill, Jason D. LaFountain