To Drip or to Pop? The European Triumph of American Art

East-West Interchanges in American Art: A Long and Tumultuous Relationship, 2012

East-West Interchanges in American Art partnership with the Freer Gallery of Art and the Arthur M. Sackler Gallery as well as the Smithsonian Asian Pacific American Program, with the generous support of the Terra Foundation for American Art. This book of proceedings, co-edited with lee Glazer and Amelia A. Goerlitz, brings together papers from the symposium that offer new avenues for research on Asian-u.S. artistic exchange. The contributors to this volume-art historians, curators, and historians from Britain, China, Ireland, Japan, and Korea as well as the united States-provide an array of perspectives. Each essay explores some aspect of the many ways in which American and Asian artists have interacted from the eighteenth century to the present day and considers some of the specific locations where these interchanges took place. A key point of the conference and of this volume is to demonstrate through the presentation of provocative and original research that artistic ideas did not flow primarily in one direction (from Asia to the united States-or as Beijing scholar Ding ning notes, from the country with the longer history to the newer culture), but rather that they circulated through a variety of dynamic international relationships-sometimes personal, sometimes commercial or governmental, philosophical or pedagogical. In addition, the essays included here discuss an expanded geography of contact zones (including, for example, not only the Pacific northwest, China, and Japan, but also India, the Philippines, Vietnam, and Salem, Massachusetts) in an attempt to enrich and complicate our understandings of these ever-shifting global relationships. They engage a wide range of media, including postcards, magazines, handicrafts, and buildings as well as "high art" forms. Cross-racial themes emerge at home and abroad, and strategies used by artists and viewers to envision and construct identities, both of self and other, are discussed. The results of the symposium as laid out in this book are exciting and eclectic, with participants not offering any one coherent narrative but struggling with the vastness and diversity of the many Easts that exist and of America itself. Some of the work presented is in a preliminary stage and will be developed further over time. The organizers did not in general select papers that give priority to the immigrant experience, another broad area where considerable research is under way today, but sought instead a range of approaches to transnational interchange in a variety of places, with the hope of provoking a productive dialogue for the future. 2 Some of these come together visually in Theodore Wores's compelling 1881 painting The Chinese Fishmonger (Figure 1), which was chosen to grace the cover of the conference program and website. here an American-born artist who had just completed years of training in Munich found a window on multiple global currents in San Francisco's busy Chinatown, where he painted with careful dignity a fishmonger engaged in a picturesque act of daily commerce-an Asian with whom he had made actual 8 East-West Interchanges in American Art primarily in terms of British influence or resistances to that influence. Most early studies of American art centered on the East Coast and on the art of four cities: new york, Boston, Philadelphia, and Charleston, which looked east across the Atlantic. For many reasons, including the shift of the u.S. population to the West and Southwest, there is increasing national interest in art of California and the Pacific Rim, with its larger Asian population and interest in commerce across the "other" ocean. Another shift in interest that is inspiring fresh scholarship is in the arena of medium. Easel painting has long been at the heart of the academic study of historical American art, from colonial portraiture to landscape painting to modernist and abstract productions, with sculpture another line of consideration, especially after the rise of Minimalism. Asian artworks, though attractive and interesting, were sometimes seen as lesser in terms of content because they were associated with decorative or graphic arts. As a look at the images reproduced in this book makes clear, our authors needed to consider formats such as handicrafts, magazine illustrations, postcards, maps, and architecture to make many essential connections about u.S.-Asian artistic interchanges. These forms are part of our contemporary visual life, rapidly being incorporated into the study of American art as the old "canon" of high art is being expanded or dismantled. Scholars familiar with related disciplines such as literary theory, anthropology, linguistics, and gender studies also are not interested in seeking single overriding narratives or patterns to reveal characteristics about American art or Asian art. They 3.

RACAR : Revue d'art canadienne, 1977

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'

1996

This brocluire accompanies an c\lnl)ition ot tlic same n<unc at tlic Bowdoin College Museum of Art, Brunswick, Maine, from \])ril 1" through)nne 2, 1996.

The reconstruction of the twenty-first-century imagination (ideologies that shape our " imagined world ") and aesthetic view through the " authentic " modes of abstraction, conceptualism, and the lens of media and digital technology has led to a new way of understanding and experiencing creativity. While these are certainly new or original critical experiences, there are other types of creativity, ideologies and imaginary worlds that are quite separate, and sometimes polemically opposed to this genre of making and looking. An example of this type of creative visualization and boycotting of the supposedly authentic gesture is the work of the late American artist Edward E. Boccia, who devoted much of his life to a series of panel paintings that take as their subject problems of politics and society, as well as religious experience in the twentieth century. Made between 1956-2006, the large scale altarpieces represent the phenomenon of figural creativity produced in traditional studio mediums in mid-to late twentieth-century America. While the artist was active within a university community, where there would be a heightened awareness if not support of the contemporary rhetoric of formalist criticism and anti-illusionism, Boccia's way of working was transgressive, going against the nationwide current of Abstraction, Minimalism and Conceptual art, art informe and later digitization. This study attempts to reposition his significance and move past a conscribed history of mid-to late twentieth-century American art that has often been guided by a somewhat reductive hierarchy in which abstraction and its progeny feature as the key accomplishments of American ingenuity.

Panorama, 2016

This collection of essays features research first presented at a session sponsored by the Association of Historians of American Art (AHAA) entitled “Art and Invention in the U.S.” at the College Art Association annual conference in Washington, DC in February 2016.

American Art, 1998

Katherine E. Manthorne American Art: National Museum of American Art, Smithsonian Institution-these are the first words that we encounter on the journal&#39;s cover. They announce a historic agenda that extends nationwide and embraces the potential participation of an immense body of readers and contributors. Such an ambitious mission raises a number of questions, two of which demand immediate attention. The first surrounds the use of the term American. So far, it has been used in these pages as a shorthand notation to refer almost exclusively to the United States, a single country of fifty states. This traditional focus often complicates efforts to address the rich art of our fellow inhabitants in the Americas. Notwithstanding this problematic concern, ongoing sociopolitical debates have reinforced our awareness of the need to account for the multiplicity of voices within the United States of America.&#39; Yet while scholars debate the validity of the melting pot as a legitimate schema for national developments, the popular tendency has been to retain that myth. So whose story, whose art history, then, do we tell? In this climate of multicultural awareness, it is all too common to promise ever-widening representation. Since its inception, American Art has played an active role in the rethinking of the discipline on issues of race and gender and of folk art and crafts production. We can do even better in questioning the politics of art, with its unwritten edicts for inclusion and exclusion. But it requires the participation of all to redress the balances and ensure that this journal&#39;s content speaks to our shared concerns. The second point centers on the concept of art and brings us to the heart of the current controversy over elitism versus democracy in the arts. One side might be represented by the recent National Endowment for the Arts report entitled &quot;American Canvas,&quot; which accused the arts of the &quot;sin&quot; of elitism. The other side finds its most prominent spokesperson in Metropolitan Museum of Art director Philippe de Montebello, who in turn has resoundingly asserted elitism as a virtue rather than a vice. Where in relation to these two endpoints should American Art situate itself? To stake its claim, we need to pay attention to what has been called the &quot;ideology of democracy.&quot; In this world view, not only are all men and women created equal, but so too are all cultures and their artifacts.2 This democratizing tendency has been affirmed by much of the new art history and the newer move toward the study of visual culture as an alternative to more circumscribed definitions of artistic production. To date American Art has subscribed to this principle, publishing essays on the art of Winslow Homer or Jackson Pollock alongside those on Elvis Presley&#39;s Graceland and a nodding-head pink flamingo. The journal&#39;s

The latest abstract painting offends many people, among whom are more than a few who accept the abstract in art in principle. New painting (sculpture is a different question) still provokes scandal when little that is new in literature or even music appears to do so any longer. This may be explained by the very slowness of painting's evolution as a modernist art. Though it started on its "modernization" earlier perhaps than the other arts, it has turned out to have a greater number of expendable conventions imbedded in it, or these at least have proven harder to isolate and detach. As long as such conventions survive and can be isolated they continue to be attacked, in all the arts that intend to survive in modern society. This process has come to a stop in literature because literature has fewer conventions to expend before it begins to deny its own essence, which lies in the communication of conceptual meanings. The expendable conventions in music, on the other hand, would seem to have been isolated much sooner, which is why the process of modernization has slowed own, if not stopped, there. (I simplify drastically. And it is understood, I hope, that tradition is not dismantled by the avant-garde for sheer revolutionary effect, but in order to maintain the level and vitality of art under the steadily changing circumstances of the last hundred years-and that the dismantling has its own continuity and tradition.)

Cultural Contact and the Making of European Art Since the Age of Exploration, edited by Mary D. Sheriff, 2010