Drawing on socio-economic and political studies as well as histories of religion, science, literature, and popular culture, this book explores the diverse, conflicted history of American art and architecture within the United States from the European voyages of discovery and colonial conquest to the present dawn of a new millennium. Thematically interrelates the arts of architecture, painting, sculpture, and photography instead of compartmentalizing the different media in separate chapters, providing an ideal format for readers' understanding of the various historical and cultural contexts discussed throughout the book. Contemporary criticism and art commentaries are examined, demonstrating to readers how artworks are consumed as well as produced in relation to particular political and social conditions. Artworks that were extremely popular during the period in which they were produced, and later retrospectively dismissed by art historians, are also included and examined, encouraging readers to analyze the popular success or failure of individual art objects by interpreting their production and consumption in historical depth from multiple cultural, political, and social viewpoints. Educators and historians.
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Though broadly chronological, the book is structured around various themes, such as the animating power of religious imagery in the seventeenth century, the cultivation of republican virtue in the eighteenth century, and a split national identity in the Civil War era. The final chapters document the rise of a conflicted Avant-Garde, the populism and public art of the Depression years, the Abstract Expressionists, and the postmodern 1990s. Famous works by established names such as Charles Bulfinch, Benjamin West, James Abbott McNeill Whistler, Mathew Brady, Georgia O'Keeffe, and Jeff Koons are freshly interpreted next to vernacular imagery—a masonic apron, an earthenware mug, a satirical cartoon, or a labor union poster.
Dismissing the idea of art as a stately evolution of styles or "-isms," the author sees America's visual culture as an arena in which conflicting notions of class, gender, race, and regional allegiance are fought. Stepping outside traditional art-historical discourse, he launches boldly into the realms of politics, religion, science, literature, and popular culture in order to analyze individual art works within their specific historical contexts. Throughout, using generous quotations from primary sources, Bjelajac pays close attention to how contemporary artists, audiences, and beholders from different backgrounds have talked about specific works, the nature of art, and the artist's role in American society.
DAVID BJELAJAC is currently professor of art and the human sciences at The George Washington University. Having a particular interest in the influence of freemasonry on American visual culture, he is the author of two monographs on the painter Washington Allston, including Washington Allston, Secret Societies, and the Alchemy of Anglo-American Painting. He has also recently contributed a chapter on "William Sidney Mount and the Hermetic Tradition in American Art" to The Visual Culture of American Religions, edited by David Morgan and Sally Promey, which will be published by the University of California Press in 2000.
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