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 technique, historiography, and present nation of the sphere of yank paintings history.
- Features contributions from a stability of verified and rising students, artwork 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 themes equivalent to the methodological stakes within the writing of yankee paintings heritage, altering rules approximately what constitutes “Americanness,” and the connection of artwork to public culture
- Offers a desirable portrait of the evolution and present country of the sphere of yank artwork background and indicates destiny instructions of scholarship
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Extra info for A Companion to American Art
In her account of modernist art, The Optical Unconscious, Krauss defines the importance of Pollock’s art in its almost insurrectionist challenge to the formal and structural conventions of representation. Describing how Pollock’s approach to form embodied such a structural critique, she writes: At some point, it became clear that figure could only be approached through b assesse, through lowering, through going beneath the figure into the terrain of formlessness. And it also became clear that the act of lowering could, itself, only register through the vehicle of a trace or index, through, that is, the stain that would fissure the event from within into act of aggression and mark, or residue, or clue.
In the 1980s, new perspectives on Eakins were generated by the discovery of material from the collection of his student, Charles Bregler. The documents and photographs in this trove have inspired commentary from the vantage of cultural history, gender and class studies, as well as psycho- biographical analysis, while Eakins’s artwork has opened doors on the artist’s methods and personality. The collaboration of scholars and conservators, increasingly important to American art history, has rewritten our understanding of Eakins in the last two decades, offering confirmation of the documentary record, a cautionary check to speculation, and startling new insights.
Source: Digital image, The Museum of Modern Art, New York / Scala, Florence. © The Pollock-Krasner Foundation / ARS, New York and DACS, London 2014. better for Buchloh than the interpretive approaches that had, up to the 1970s, dominated even modernist scholarship: they hold to notions of the art object as an expression of its maker’s meaning—a vessel, if even unconsciously, for “Homer’s message” or for “the painters’ sublimated acknowledgment of the difficulties ... ”26 Buchloh’s essay was one of four introductions to Art since 1900, the 2004 textbook that he wrote together with the three other central figures behind October.