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ISBN-10: 0470671025

ISBN-13: 9780470671023

"A spouse to American Art" provides 35 newly-commissioned essays by way of top students that discover the technique, historiography, and present nation of the sector of yankee paintings historical past. beneficial properties contributions from a stability of proven and rising students, artwork and architectural historians, and different experts comprises a number of paired essays to stress discussion and debate among students on very important modern concerns in American artwork background Examines themes corresponding to the methodological stakes within the writing of yankee artwork background, altering rules approximately what constitutes "Americanness," and the connection of artwork to public tradition deals a desirable portrait of the evolution and present country of the sector of yankee paintings heritage and indicates destiny instructions of scholarship.

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In the last few decades, many modernists have wanted to see a link between radicality of form and radicality of politics. In this mode of scholarship, the new possibilities of thought opened by avant-garde art are far more important than any local or historically specific objects or topics that might be represented, or any ideas that mass culture might formulate about them. Associated with these valuations for many modernist scholars is the imperative (influenced by readings of Theodor Adorno, for example, as well as by modernist art itself) that art take the form of negation—critiquing previous habits of sight, for example, and ultimately false political consciousness.

Buchloh, for example, wrote that the aim of avant-garde art (and, implicitly, of good history of it) was to “initiate fundamental changes in the conception of audience and spectatorial agency, to reverse the bourgeois hierarchy of aesthetic exchange-value and use-value, and most importantly perhaps, to conceive of cultural practices for a newly emerging T h e A m e r i ca n i st / M o d e r n i st D i v i d e ◼◼◼ 25 internationalist ... ”27 This is not a model of art as expression, however sublimated, but of art as means for remaking thought.

The nature of that influence, however, has been different in the two fields. While Americanist art history situates representations within frames of genre, institution, and politics, it is generally not built on form. ”16 It is true that writers in this 22 ◼ ◼ ◼ j o s h ua s h a n n o n a n d jas o n w e e m s mode—Corn mentioned Jules Prown, Bryan Wolf, David Lubin, and even Michael Fried—often assembled speculative and subjective readings of their objects of study, and that these were frequently inflected by Freud.

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A Companion to American Art


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