Book
xii, 366 pages : illustrations (some color) ; 26 cm
  • Introduction -- Part One -- 1. War, Modernism, and the American Spirit -- 2. Dangerous Waters -- 3. Mirroring Masculinity -- 4. Morning in America -- 5. Duchamp's Fountain -- Part Two -- 6. To See or Not to See -- 7. Artists in Uniform -- 8. Fixing Faces -- 9. Monsters at Home -- 10. Epilogue: Men, Machines, and Apes -- Works Cited -- Index.
  • (source: Nielsen Book Data)9780190218614 20160718
A vivid, engaging account of the artists and artworks that sought to make sense of America's first total war, Grand Illusions takes readers on a compelling journey through the major historical events leading up to and beyond US involvement in WWI to discover the vast and pervasive influence of the conflict on American visual culture. David M. Lubin presents a highly original examination of the era's fine arts and entertainment to show how they ranged from patriotic idealism to profound disillusionment. In stylishly written chapters, Lubin assesses the war's impact on two dozen painters, designers, photographers, and filmmakers from 1914 to 1933. He considers well-known figures such as Marcel Duchamp, John Singer Sargent, D. W. Griffith, and the African American outsider artist Horace Pippin while resurrecting forgotten artists such as the mask-maker Anna Coleman Ladd, the sculptor Gertrude Vanderbilt Whitney, and the combat artist Claggett Wilson. The book is liberally furnished with illustrations from epoch-defining posters, paintings, photographs, and films. Armed with rich cultural-historical details and an interdisciplinary narrative approach, David Lubin creatively upends traditional understandings of the Great War's effects on the visual arts in America.
(source: Nielsen Book Data)9780190218614 20160718
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xii, 231 pages : illustrations, maps ; 27 cm
  • Introduction : imagining urban ecology / Alan C. Braddock and Laura Turner Igoe
  • Ink and paper, clamshells and leather : power, environmental perception, and materiality in the Lenape-European encounter at Philadelphia / Michael Dean Mackintosh
  • "Processes of nature and art" : the ecology of Charles Willson Peale's Smoke-eaters and stoves / Laura Turner Igoe
  • Mapping the Quaker City's queer ecology / Mary I. Unger
  • Visualizing urban nature in Fairmount Park : economic diversity, history, and photography in nineteenth-century Philadelphia / Nate Gabriel
  • Netted together : Eadweard Muybridge's Animal locomotion at the dawn of comparative biology / John Ott
  • Expansive exhibitions : agriculture and environment in Walt Whitman's Camden-Philadelphia region / Maria Farland
  • "Our yard looks something like a zoological garden" : Thomas Eakins, Philadelphia, and domestic animality / Alan C. Braddock
  • "A thorough study of causes" : W.E.B. Du Bois, the Philadelphia Negro, and progressive era materiality / Scott Hicks
  • Exhibiting Philadelphia's vital center : negotiating environmental and civic reform in a popular postwar planning vision / Amy E. Menzer
  • "Entertainment for all the senses" : Stephen Starr's experience dining and the revitalization of postindustrial Philadelphia / Stephen Nepa
  • "The water flows beneath it still..." : remembering and re-imagining Philadelphia's old Dock Creek / Sue Ann Prince
  • Remapping Philadelphia's post-industrial terrain : a network in flux / Andrea L.M. Hansen.
"A collection of essays exploring the ways in which art and literature have imagined, animated, and embodied the complex ecology of Philadelphia since the seventeenth century. Essays utilize emerging methods of interpretation in ecocriticism, new materialism, art history, philosophy, and urban studies"--Provided by publisher.
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
263 pages : illustrations (chiefly color) ; 22 cm
  • Introduction : Hellboy and the adventure of reading. Enworlding Hellboy : cosmology and franchise
  • Occult detection, sublime horror, and predestination
  • Children's books, color, and other non-linear pleasures
  • Hellboy and the codicological imagination
  • Hellboy at the Gates of Hell : sculpture, stasis, and the comics page
  • Coda-Mignola, Goya, and the monsters.
Hellboy, Mike Mignola's famed comic book demon hunter, wanders through a haunting and horrific world steeped in the history of weird fictions and wide-ranging folklores. Hellboy's World shows how our engagement with Hellboy's world is a highly aestheticized encounter with comics and their materiality. Scott Bukatman's dynamic study explores how comics produce a heightened "adventure of reading" in which syntheses of image and word, image sequences, and serial narratives create compelling worlds for the reader's imagination to inhabit. Drawing upon other media - including children's books, sculpture, pulp fiction, cinema, graphic design, painting, and illuminated manuscripts - Bukatman reveals the mechanics of creating a world on the page. He also demonstrates the pleasurable and multiple complexities of the reader's experience, invoking the riotous colors of comics that elude rationality and control and delving into shared fictional universes and occult detection, the horror genre and the evocation of the sublime, and the place of abstraction in Mignola's art. Monsters populate the world of Hellboy comics, but Bukatman argues that comics are themselves little monsters, unruly sites of sensory and cognitive pleasures that exist, happily, on the margins. The book is not only a treat for Hellboy fans, but it will entice anyone interested in the medium of comics and the art of reading.
(source: Nielsen Book Data)9780520288041 20160619
Green Library, Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
255 pages : color illustrations ; 31 cm
  • The work we do / Laura Raicovich
  • Ukeles at the Queens Museum / Larissa Harris
  • Never done: women's work by Mierle Laderman Ukeles / Lucy R. Lippard
  • Making necessity art: collisions of maintenance and freedom / Patricia C. Phillips
  • Interviews with New York City Department of Sanitation Commissioners / Tom Finkelpearl with Norman Steisel, Brendan Sexton, John Doherty, and Kathryn Garcia
  • Artist's writings
  • Selected work history / Patricia C. Phillips
  • Additional artworks / Patricia C. Phillips.
The first comprehensive monograph devoted to Mierle Laderman Ukeles and her groundbreaking participatory art practice. The work of Mierle Laderman Ukeles brilliantly bridges feminism, environmentalism, and participatory art practice. Whether it s her groundbreaking Manifesto for Maintenance Art 1969!, which decries the separation, especially for women, between art on the one hand and caring for family, city, and planet on the other; or The Social Mirror, in which she covered a New York City Department of Sanitation truck entirely in mirrored glass Ukeles's fascinating body of work includes public art installations, exhibitions, and performances around the world, frequently created in collaboration with sanitation and municipal workers, museum visitors, and the public. This first comprehensive book on the influential artist explores her legendary tenure as artist-in-residence at New York City s Department of Sanitation, which has paved the way for similar embedded artists in government and community organizations. Essays, interviews, and striking illustrations offer important perspectives on an artist who has transformed our ideas about the feminist, urban, ecological, and resilient aspects of artistic experience.".
(source: Nielsen Book Data)9783791355382 20170130
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xxii, 653 pages : illustrations ; 25 cm.
  • List of Figures xi Notes on Contributors xvii Acknowledgments xxiii Introduction: American Art History Now: A Snapshot 1 John Davis, Jennifer A. Greenhill, and Jason D. LaFountain Part I Writing American Art History 13 Dialogue 15 1 A Conversation Missed: Toward a Historical Understanding of the Americanist/Modernist Divide 17 Joshua Shannon and Jason Weems 2 Response: Setting the Roundtable, or, Prospects for Dialogue between Americanists and Modernists 34 Jennifer L. Roberts 3 A Time and a Place: Rethinking Race in American Art History 49 Tanya Sheehan Dialogue 69 4 On the Social History of American Art 71 Alan Wallach 5 Response: Our Cause Is What? 85 Robin Kelsey 6 The Maker s Share: Tools for the Study of Process in American Art 95 Ethan W. Lasser Dialogue 111 7 The Problem with Close Looking 113 Martin A. Berger 8 Response: Look Away 128 Jennifer A. Greenhill 9 Looking for Thomas Eakins: The Lure of the Archive and the Object 146 Kathleen A. Foster Dialogue 165 10 The Challenge of Contemporaneity, or, Thoughts on Art as Culture 167 Rachael Z. DeLue 11 Response: Writing History, Reading Art 183 Bryan Wolf Part II Geographies: Rethinking Americanness 191 12 Teaching Across the Borders of North American Art History 193 Wendy Bellion and Monica Dominguez Torres 13 An American Architecture? 211 Dell Upton 14 The Pacific World and American Art History 228 J.M. Mancini 15 Home and Homeless in Art between the Wars 246 Angela Miller 16 Pueblo Painting in 1932: Folding Narratives of Native Art into American Art History 264 Jessica L. Horton and Janet Catherine Berlo 17 US American Art in the Americas 281 Mary K. Coffey 18 Geography Lessons: Canadian Notes on American Art History 299 Frances K. Pohl 19 Only in America: Exceptionalism, Nationalism, Provincialism 317 John Davis 20 Monolingualism, Multilingualism, and the Study of American Art 336 Jason D. LaFountain Part III Subjectivities 357 21 Painters and Status in Colony and Early Nation 359 Susan Rather 22 Pantaloons vs. Petticoats: Gender and Artistic Identity in Antebellum America 378 Sarah Burns 23 Male or Man?: The Politics of Emancipation in the Neoclassical Imaginary 395 Charmaine A. Nelson 24 Drawing Boundaries, Crossing Borders: Trespassing and Identity in American Art 414 Randall R. Griffey 25 Lookout: On Queer American Art and History 433 Richard Meyer 26 From Nature to Ecology: The Emergence of Ecocritical Art History 447 Alan C. Braddock 27 Art History as Collage: A Personal Approach 468 David M. Lubin Part IV Art and Public Culture 487 28 Material Religion in Early America 489 Louis P. Nelson 29 Issues in Early Mass Visual Culture 507 Michael Leja 30 Patrons, Collectors, and Markets 525 John Ott 31 Historicism in the American Built Environment 544 Kevin D. Murphy 32 The Painting of Urban Life, 1880 1930 562 David Peters Corbett 33 Photography and Opium in a Nineteenth-Century Port City 581 Anthony W. Lee 34 Value in the Vernacular 599 Leo G. Mazow 35 Realism under Duress: The 1930s 617 Andrew Hemingway Index 637.
  • (source: Nielsen Book Data)9780470671023 20160618
A Companion to American Art presents 35 newly-commissioned essays by leading scholars that explore the methodology, historiography, and current state of the field of American art history. * Features contributions from a balance of established and emerging scholars, art and architectural historians, and other specialists * Includes several paired essays to emphasize dialogue and debate between scholars on important contemporary issues in American art history * Examines topics such as the methodological stakes in the writing of American art history, changing ideas about what constitutes Americanness, and the relationship of art to public culture * Offers a fascinating portrait of the evolution and current state of the field of American art history and suggests future directions of scholarship.
(source: Nielsen Book Data)9780470671023 20160618
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xii, 197 pages : illustrations, maps ; 22 cm
  • Introduction -- 1. The Sounds of Secession -- 2. Eying First Bull Run -- 3. Cornelia Hancock's Sense of Smell -- 4. Hollowing Out Vicksburg -- 5. The Hunley's Impact -- Epilogue: Experiencing Total War.
  • (source: Nielsen Book Data)9780199759989 20160617
Historical accounts of major events have almost always relied upon what those who were there witnessed. Nowhere is this truer than in the nerve-shattering chaos of warfare, where sight seems to confer objective truth and acts as the basis of reconstruction. In The Smell of Battle, the Taste of Siege, historian Mark M. Smith considers how all five senses, including sight, shaped the experience of the Civil War and thus its memory, exploring its full sensory impact on everyone from the soldiers on the field to the civilians waiting at home. From the eardrum-shattering barrage of shells announcing the outbreak of war at Fort Sumter; to the stench produced by the corpses lying in the mid-summer sun at Gettysburg; to the siege of Vicksburg, once a center of Southern culinary aesthetics and starved into submission, Smith recreates how Civil War was felt and lived. Relying on first-hand accounts, Smith focuses on specific senses, one for each event, offering a wholly new perspective. At Bull Run, the similarities between the colors of the Union and Confederate uniforms created concern over what later would be called "friendly fire" and helped decide the outcome of the first major battle, simply because no one was quite sure they could believe their eyes. He evokes what it might have felt like to be in the HL Hunley submarine, in which eight men worked cheek by jowl in near-total darkness in a space 48 inches high, 42 inches wide. Often argued to be the first "total war, " the Civil War overwhelmed the senses because of its unprecedented nature and scope, rendering sight less reliable and, Smith shows, forcefully engaging the nonvisual senses. Sherman's March was little less than a full-blown assault on Southern sense and sensibility, leaving nothing untouched an no one unaffected. Unique, compelling, and fascinating, The Smell of Battle, The Taste of Siege, offers readers way to experience the Civil War with fresh eyes.
(source: Nielsen Book Data)9780199759989 20160617
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xiii, 242 pages : illustrations ; 23 cm
  • Why History?
  • Stepping Back in Time, Almost
  • Challenging History
  • The Everest of Museums
  • Conquering the High Wheeler
  • Does This Make Cotton or Gin?
  • Mary, Not Betsy
  • That Strange Creature the Mule
  • When Houses Talk
  • Water Battle on the Missouri
  • You Can't Write My History
  • A Grizzly in the Mail
  • Tracking the Buffalo
  • The Cathedral and the Cemetery
  • We're Flying over Hell Stretch?
  • How Lucky Was Lindy?
  • Passionate Pretenders
  • Epilogue.
For more than twenty years, Tim Grove has worked at the most popular history museums in the United States, helping millions of people get acquainted with the past. This book translates that experience into an insider's tour of some of the most interesting moments in American history. Grove's stories are populated with well-known historical figures such as John Brown, Charles Lindbergh, Meriwether Lewis, William Clark and Sacagawea - as well as the not-so-famous. Have you heard of Mary Pickersgill, seamstress of the Star-Spangled Banner flag? Grove also has something to say about a few of our cherished myths, for instance, the lore surrounding Betsy Ross and Eli Whitney. Grove takes readers to historic sites such as Harpers Ferry, Fort McHenry, the Ulm Pishkun buffalo jump and the Lemhi Pass on the Lewis and Clark Trail and traverses time and space from eighteenth-century Williamsburg to the twenty-first-century Kennedy Space Center. En route from Cape Canaveral on the Atlantic to Cape Disappointment on the Pacific, we learn about planting a cotton patch on the National Mall, riding a high wheel bicycle, flying the transcontinental airmail route and harnessing a mule. Is history relevant? This book answers with a resounding yes and, in the most entertaining fashion, shows us why.
(source: Nielsen Book Data)9780803249721 20160614
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
ix, 229 pages : illustrations ; 26 cm
  • Newspaper illustration, technological change, and professional identity
  • In dialogue
  • The practical paintist
  • Figuring the painter in the crowd
  • Before the masses : painting, politics, and propaganda
  • Modernism, illustrated : Sloan and Duchamp.
The American realist artist John Sloan (1871--1951) is best known for his portrayals of daily life in early 20th-century New York and as a member of The Eight and the Ashcan School, alongside peers like Robert Henri, Everett Shinn, and George Luks. Sloan's artistic approach was shaped by his experience as a commercial illustrator, a type of work that inaugurated his professional career--at newspapers like the Philadelphia Press and later for mass-market magazines--and which he pursued even after he turned his focus to painting. In John Sloan: Drawing on Illustration, Michael Lobel explores the impact of Sloan's illustrating on his wider output, including his paintings, his drawings for the radical journal The Masses, and his response to the watershed 1913 Armory Show. Illuminating the interaction between art and popular culture, this book provides an important new framework for understanding the modern genre of illustration, and in so doing touches on major 20th-century currents, including the rise and expansion of the mass media and the visual legacy of European modernism.
(source: Nielsen Book Data)9780300195552 20160614
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xii, 325 pages : illustrations ; 23 cm.
  • The Materiality of Mediated Knowledge and Expression. Materiality and Media in Communication and Technology Studies: An Unfinished Project / Leah A. Lievrouw
  • Steps Toward Cosmopolitanism in the Study of Media Technologies: Integrating Scholarship on Production, Consumption, Materiality, and Content / Pablo J. Boczkowski and Ignacio Siles
  • Closer to the Metal / Finn Brunton and Gabriela Coleman
  • Emerging Configurations of Knowledge Expression / Geoffrey C. Bowker
  • "What Do We Want?" "Materiality!" "When Do We Want It?" "Now!" / Jonathan Sterne
  • Mediations and Their Others / Lucy Suchman
  • The People, Practices, and Promises of Information Networks. Making Media Work: Time, Space, Identity, and Labor in the Analysis of Information and Communication Infrastructures / Gregory J. Downey
  • The Relevance of Algorithms / Tarleton Gillespie
  • The Fog of Freedom / Christopher Kelty
  • Rethinking Repair / Steven J. Jackson
  • Identifying the Interests of Digital Users as Audiences, Consumers, Workers, and Publics / Sonia Livingstone
  • The World Outside and the Pictures in Our Networks / Fred Turner.
In recent years, scholarship around media technologies has finally shed the assumption that these technologies are separate from and powerfully determining of social life, looking at them instead as produced by and embedded in distinct social, cultural, and political practices. Communication and media scholars have increasingly taken theoretical perspectives originating in science and technology studies (STS), while some STS scholars interested in information technologies have linked their research to media studies inquiries into the symbolic dimensions of these tools. In this volume, scholars from both fields come together to advance this view of media technologies as complex sociomaterial phenomena. The contributors first address the relationship between materiality and mediation, considering such topics as the lived realities of network infrastructure. The contributors then highlight media technologies as always in motion, held together through the minute, unobserved work of many, including efforts to keep these technologies alive. ContributorsPablo J. Boczkowski, Geoffrey C. Bowker, Finn Brunton, Gabriella Coleman, Gregory J. Downey, Kirsten A. Foot, Tarleton Gillespie, Steven J. Jackson, Christopher M. Kelty, Leah A. Lievrouw, Sonia Livingstone, Ignacio Siles, Jonathan Sterne, Lucy Suchman, Fred Turner.
(source: Nielsen Book Data)9780262525374 20160613
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
x, 221 pages : illustrations (chiefly color) ; 32 cm.
This is the first study to place this genius of modern comics creation in an art history context. Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skilful draftsman ship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay's interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early 20th-century urban America. McCay's role as a pioneer of early comics has been well documented, yet no existing study approaches him and his work from an art history perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. Wide Awake in Slumberland connects McCay's work to relevant children's literature, advertising, architecture, and motion pictures in order to demonstrate the artist's sophisticated blending and remixing of multiple forms from mass culture. Readings of McCay's drawings and the eighty-one black and white and colour illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.
(source: Nielsen Book Data)9781617039607 20160614
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xvi, 256 pages : illustrations (some color) ; 29 cm
  • Introduction. The blackness of things
  • Fred Wilson and the rhetoric of redress
  • Lorna Simpson's figurative transitions
  • Glenn Ligon and the matter of fugitivity
  • Renée Green's diasporic imagination
  • Epilogue. Alternate routes.
At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early '90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. "Bound to Appear" focuses on four of these artists - Renee Green, Glenn Ligon, Lorna Simpson, and Fred Wilson - who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure - both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the "peculiar institution." The first book to examine in depth these artists' engagements with slavery, "Bound to Appear" will leave an indelible mark on modern and contemporary art.
(source: Nielsen Book Data)9780226115702 20160612
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
110 pages : illustrations (some color), map ; 28 cm
  • Art Is Not a Form of Propaganda; It Is a Form of Truth / Olivier Meslay
  • The Unplanned Farewell: An Art Exhibition for President and Mrs. John F. Kennedy / Scott Grant Barker
  • Oil on Canvas: Texas Art Collectors and the President's Visit to Fort Worth, November 1963 / David M. Lubin
  • Swimming: Thomas Eakins, JFK, and November 22, 1963 / Alexander Nemerov
  • Chronology: President John F. Kennedy's Visit to Fort Worth and Dallas, November 21-22, 1963 / Nicola Longford
  • Checklist of the Exhibition.
The events associated with John F. Kennedy's death are etched into our nation's memory. This fascinating book tells a less familiar part of the story, about a special art exhibition organized by a group of Fort Worth citizens. On November 21, 1963, the Kennedys arrived in Fort Worth around midnight, making their way to Suite 850 of the Hotel Texas. There, installed in their honor, was an intimate exhibition that included works by Monet, Van Gogh, Marin, Eakins, Feininger, and Picasso. Due to the late hour, it was not until the following morning that the couple viewed the exhibition and phoned one of the principal organizers, Ruth Carter Johnson, to offer thanks. Mrs. Kennedy indicated that she wished she could stay longer to admire the beautiful works. The couple was due to depart for Dallas, and the rest is history. This volume reunites the works in this exhibition for the first time and features some previously unpublished images of the hotel room. Essays examine this exhibition from several angles: anecdotal, analytical, cultural, and historical, and include discussions of what the local citizens wished to convey to their distinguished viewers.
(source: Nielsen Book Data)9780300187564 20160612
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xi, 84 pages, 32 unnumbered pages of plates : illustrations (some color) ; 27 cm
The first full-length critical analysis of the paintings of Jaune Quick-to-See Smith, this book focuses on Smith's role as a modernist in addition to her status as a wellknown Native American artist. With close readings of Smith's work, Carolyn Kastner shows how Smith simultaneously contributes to and critiques American art and its history. Smith has distinguished herself as a modernist both in her pursuit of abstraction and her expressive technique, but too often her identity as a Native American artist has overshadowed these aspects of her work. Addressing specific themes in Smith's career, Kastner situates Smith within specific historical and cultural moments of American art, comparing her work to the abstractions of Kandinsky and Miro, as well as to the pop art of Rauschenberg and Johns. She discusses Smith's appropriation of pop culture icons like the Barbie doll, reimagined by the artist as Barbie Plenty Horses. As Kastner considers how Smith constructs each new series of artworks within the artistic, social, and political discourse of its time, she defines her contribution to American modernism and its history. Discussing the ways in which Smith draws upon her cultural heritage--both Native and non-Native--Kastner demonstrates how Smith has expanded the definitions of "American" and "modernist" art.
(source: Nielsen Book Data)9780826353894 20160612
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
295 pages : illustrations ; 27 cm.
Art & Architecture Library (Bowes)
ARTHIST-154C-01

15. The melancholy art [2013]

Book
xxv, 194 pages : illustrations ; 25 cm
  • Preface xi Acknowledgments xxiii 1 The Melancholy Art 1 2 Viennese Ghosts 25 3 Stones of Solace 53 4 Patterns in the Shadows 73 5 Mourning and Method 95 Postscript 117 Notes 133 Bibliography 165 Index 183.
  • (source: Nielsen Book Data)9780691139340 20160612
Melancholy is not only about sadness, despair, and loss. As Renaissance artists and philosophers acknowledged long ago, it can engender a certain kind of creativity born from a deep awareness of the mutability of life and the inevitable cycle of birth and death. Drawing on psychoanalysis, philosophy, and the intellectual history of the history of art, The Melancholy Art explores the unique connections between melancholy and the art historian's craft. Though the objects art historians study are materially present in our world, the worlds from which they come are forever lost to time. In this eloquent and inspiring book, Michael Ann Holly traces how this disjunction courses through the history of art and shows how it can give rise to melancholic sentiments in historians who write about art. She confronts pivotal and vexing questions in her discipline: Why do art historians write in the first place? What kinds of psychic exchanges occur between art objects and those who write about them? What institutional and personal needs does art history serve? What is lost in historical writing about art? The Melancholy Art looks at how melancholy suffuses the work of some of the twentieth century's most powerful and poetic writers on the history of art, including Alois Riegl, Franz Wickhoff, Adrian Stokes, Michael Baxandall, Meyer Schapiro, and Jacques Derrida. A disarmingly personal meditation by one of our most distinguished art historians, this book explains why to write about art is to share in a kind of intertwined pleasure and loss that is the very essence of melancholy.
(source: Nielsen Book Data)9780691139340 20160612
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xx, 762 pages : illustrations (some color), color maps ; 24 cm
Green Library, Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
290 p. : ill. (some col.) ; 21 cm.
  • Introduction: Type Casting Part I. A House Divided 1. Jasper Johns's Flag 2. Andy Warhol's Patriotism 3. Matta-Clark's Cut 4. Maya Lin's Memorial 5. Kara Walker's History Part II. A Place of Safety 6. David Smith: Heavy Metal 7. Flavin's Limited Light 8. Nauman's Body of Sculpture 9. Bourgeois Fantasy 10. How Eva Hesse Named Her Work 11. Agnes Martin: The Cause of the Response 12. Performance, Video, and the Rhetoric of Presence Notes Acknowledgments List of Illustrations Index.
  • (source: Nielsen Book Data)9780520270978 20160607
In this exhilarating book, Anne Middleton Wagner challenges readers to rethink the work of a range of post-World War II artists - Jasper Johns, Andy Warhol, Maya Lin, Bruce Nauman, and Agnes Martin among them - and thus to re-assess the relationship of art to politics and social life. The art of U.S. empire, she argues, is marked by deep dividedness. Painters and sculptors seemed entranced by American symbols, yet used them to enigmatic ends - exuberant, nightmarish, or both. Nor could postwar culture decide if it preserved sites devoted to productive withdrawal - for artists, the special zone called the studio - or simply maintained a margin where numbed subjects rehearsed the rites of vanished self-expression. This book charts the to-and-fro in recent American art between acknowledging the facts of nation and consumerism, and searching for meaningful models. And it shows that this process engages - even structures - national history and the citizen's self.
(source: Nielsen Book Data)9780520270978 20160607
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
x, 398 p., [8] p. of plates : ill. (some col.), maps ; 22 cm.
  • A new species of elegance
  • The gold standard of Jamaican mahogany
  • Supplying the Empire with mahogany
  • The bitters and the sweets of trade
  • Slavery in the rain forest
  • Redefining mahogany in the Early Republic
  • Mastering nature and the challenge of mahogany
  • Democratizing mahogany and the advent of steam
  • An old species of elegance.
In the mid-eighteenth century, colonial Americans became enamored with the rich colors and silky surface of mahogany. This exotic wood, imported from the West Indies and Central America, quickly displaced local furniture woods as the height of fashion. Over the next century, consumer demand for mahogany set in motion elaborate schemes to secure the trees and transform their rough-hewn logs into exquisite objects. But beneath the polished gleam of this furniture lies a darker, hidden story of human and environmental exploitation. Mahogany traces the path of this wood through many hands, from source to sale: from the enslaved African woodcutters, including skilled "huntsmen" who located the elusive trees amidst dense rainforest, to the ship captains, merchants, and timber dealers who scrambled after the best logs, to the skilled cabinetmakers who crafted the wood, and with it the tastes and aspirations of their diverse clientele. As the trees became scarce, however, the search for new sources led to expanded slave labor, vicious competition, and intense international conflicts over this diminishing natural resource. When nineteenth-century American furniture makers turned to other materials, surviving mahogany objects were revalued as antiques evocative of the nation's past. Jennifer Anderson offers a dynamic portrait of the many players, locales, and motivations that drove the voracious quest for mahogany to adorn American parlors and dining rooms. This complex story reveals the cultural, economic, and environmental costs of America's growing self-confidence and prosperity, and how desire shaped not just people's lives but the natural world.
(source: Nielsen Book Data)9780674048713 20160608
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xi, 313, [8] p. of plates : ill. (some col.) ; 24 cm.
  • Patience Wright's transatlantic bodies / Wendy Bellion
  • A quiet years' clash over art, painters, and publics / David Steinberg
  • The American republic joins the British global landscape / John E. Crowley
  • Revisiting Cincinnatus : Houdon's George Washington / Maurie D. McInnis
  • Gilbert Stuart's presidential imaginary / Paul Staiti
  • Mr. Jefferson as museum maker / Roger B. Stein
  • "The Limner" : Harry Croswell, newspaper politics, and the portraitist as a public figure in the early republic / Susan Rather
  • Ideologies of the ordinary and the urban domestic landscape / Bernard L. Herman.
Traditional narratives imply that art in early America was severely limited in scope. By contrast, these essays collectively argue that visual arts played a critical role in shaping an early American understanding of the body politic. American artists in the late colonial and early national periods enlisted the arts to explore and exploit their visions of the relationship of the American colonies to the mother country and, later, to give material shape to the ideals of modern republican nationhood. Taking a uniquely broad view of both politics and art, "Shaping the Body Politic" ranges in topic from national politics to the politics of national identity, and from presidential portraits to the architectures of the ordinary.The book covers subject matter from the 1760s to the 1820s, ranging from Patience Wright's embodiment of late colonial political tension to Thomas Jefferson's designs for the entry hall at Monticello as a museum. Paul Staiti, Maurie McInnis, and Roger Stein offer new readings of canonical presidential images and spaces: Jean-Antoine Houdon's "George Washington, " Gilbert Stuart's the Lansdowne portrait of Washington, and Thomas Jefferson's Monticello. In essays that engage print and painting, portraiture and landscape, Wendy Bellion, David Steinberg, and John Crowley explore the formation of national identity. The volume's concluding essays, by Susan Rather and Bernard Herman, examine the politics of the everyday. The accompanying eighty-five illustrations and color plates demonstrate the broad range of politically resonant visual material in early America. "Contributors" Wendy Bellion, University of Delaware * John E. Crowley, Dalhousie University * Bernard L. Herman, University of North Carolina, Chapel Hill * Maurie D. McInnis, University of Virginia * Louis P. Nelson, University of Virginia * Susan Rather, University of Texas, Austin * Paul Staiti, Mount Holyoke College * Roger B. Stein, emeritus, University of Virginia * David Steinberg, Independent Scholar "Thomas Jefferson Foundation Distinguished Lecture Series".
(source: Nielsen Book Data)9780813931029 20160605
Art & Architecture Library (Bowes)
ARTHIST-154C-01
Book
xviii, 554 p. : ill., maps ; 24 cm.
The text of this Norton Critical Edition is based on the 1901 Scribner edition and includes all 47 of Riis's unforgettable photographs, along with 2 maps. It is accompanied by Hasia Diner's insightful introduction and detailed explanatory annotations. An unusually rich "Contexts" section includes autobiographical writings by Riis, observations of "the other half" by Riis contemporaries, including William T. Elsing, Thomas Byrnes, William Dean Howells, Lilliam W. Betts, John Spargo, and Lillian Wald, and contemporary evaluations of Riis and his seminal book by, among others, Warren P. Adams, Joseph B. Gilder, Margaret Burton, and Theodore Roosevelt. From the many hundreds of books and articles published on Riis and How the Other Half Lives, Hasia Diner has selected nineteen interpretations of the central aspects of author and work. Among these are Jacob Prager on Riis as immigrant and crusader; Louise Ware on Riis the police reporter, reformer, and "useful citizen"; Roy Lubove on the Progressive Movement and tenement reform; Richard Tuerk on Riis and the Jews; Maren Strange on American social documentary photography; Katrina Irving on immigrant mothers; and Timothy J. Gilfoyle on "street culture" and immigrant children. A Chronology of Riis's life and work and a Selected Bibliography are also included.
(source: Nielsen Book Data)9780393930269 20160607
Art & Architecture Library (Bowes)
ARTHIST-154C-01