"A spouse to American Art" offers 35 newly-commissioned essays through top students that discover the technique, historiography, and present country of the sector of yank artwork heritage. gains contributions from a stability of verified and rising students, paintings and architectural historians, and different experts contains a number of paired essays to stress discussion and debate among students on very important modern concerns in American artwork heritage Examines issues resembling the methodological stakes within the writing of yankee artwork heritage, altering principles approximately what constitutes "Americanness," and the connection of paintings to public tradition bargains a desirable portrait of the evolution and present nation of the sector of yank artwork historical past and indicates destiny instructions of scholarship.
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Extra info for A Companion to American Art
She focuses on the Museum of Modern Art’s 1933 exhibition, American Sources of Modern Art, to resurrect a moment in US American art history when “America” was defined in continental terms and the Mexican School was held up as the regional exemplar. While this experiment in asserting a continental America failed, the tension it reveals between a nationalist interest in regional specificity and a universalist formalism would structure the postwar emergence of Abstract Expressionism. In her contribution, Frances Pohl uses her perspective as a Canadian American historian of American art to reflect on how northern border crossings have conditioned the history of American art in modernity.
Case Study: Jackson Pollock While modernist accounts of Pollock may be more widely circulated, the claims that both modernist and Americanist art historians make on his work are compelling, especially in relation to the historical break at 1945 problematized in the opening passages of this essay. J. Clark and two usually associated with the American field by Michael Leja and Erika Doss. Chronologically, the texts make a tight grouping as all were published in the 1990s. Our goal in comparing the interpretive strategies deployed by these authors is not to critique or even to recapitulate each of their arguments as such, but rather to locate in them the methodological and philosophical differences that shape the two fields.
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. Each of the essays introduced a method of modernist art history: Buchloh wrote on social art history, Hal Foster on psychoanalysis, Yve-Alain Bois on formalism and structuralism, and Rosalind Krauss on poststructuralism and deconstruction. While only the last of these essays used the word poststructuralism in its title, all four echoed the 1987 October anthology and further developed its positions.