American ArtPub Date : 2020-06-01DOI: 10.1086/710467
{"title":"In Memoriam: David C. Driskell (1931–2020)","authors":"","doi":"10.1086/710467","DOIUrl":"https://doi.org/10.1086/710467","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710467","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43734417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-06-01DOI: 10.1086/710478
Roberta K. Tarbell
{"title":"Joshua C. Taylor (1917–1981)","authors":"Roberta K. Tarbell","doi":"10.1086/710478","DOIUrl":"https://doi.org/10.1086/710478","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"96 - 99"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710478","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46092799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-06-01DOI: 10.1086/710471
Sascha T. Scott
{"title":"Georgia O’Keeffe’s Hawai‘i?","authors":"Sascha T. Scott","doi":"10.1086/710471","DOIUrl":"https://doi.org/10.1086/710471","url":null,"abstract":"In 1939 Georgia O’Keeffe traveled to the Territory of Hawai‘i to fulfill a commission for the advertising agency N. W. Ayer & Son. Her expenses were covered in exchange for two paintings to be used in advertisements for the Hawaiian Pineapple Company (now Dole Food Company), an enterprise entangled with the conquest of Hawai‘i. James Dole built his pineapple empire on the dispossession and oppression of Indigenous Hawaiians by U.S. missionaries, businessmen, and politicians. O’Keeffe’s experiences in and paintings of Hawai‘i were structured by colonialism, and Dole advertisements that feature her paintings served to justify and naturalize U.S. conquest. To understand O’Keeffe’s work as participating in the highly racialized project of colonialism is to disrupt dominant histories that, often unwittingly, contribute to the ongoing disenfranchisement of Indigenous peoples. Doing so is an important step toward “decolonizing” the history of American modernism.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"26 - 53"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710471","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45999340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-06-01DOI: 10.1086/710469
Lonnie G. Bunch
{"title":"Statement from the Secretary of the Smithsonian","authors":"Lonnie G. Bunch","doi":"10.1086/710469","DOIUrl":"https://doi.org/10.1086/710469","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710469","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43760778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-06-01DOI: 10.1086/710470
Emilie Boone
{"title":"Reproducing the New Negro","authors":"Emilie Boone","doi":"10.1086/710470","DOIUrl":"https://doi.org/10.1086/710470","url":null,"abstract":"In the summer of 1924, as a departure from his concentration on portraits in his Harlem studio, James Van Der Zee served as the official photographer for the Pan-Africanist leader Marcus Garvey and his organization, the Universal Negro Improvement Association (UNIA). Many of the resulting photographs were published in the organization’s popular, internationally distributed newspaper, the Negro World. The newsprint medium in which the UNIA photographs appeared in reproduction, along with their editorial arrangement on the page, animated a different photographic vision from that of the gelatin silver print studio portraits often celebrated as Van Der Zee’s defining contribution to American art. This article illustrates how Van Der Zee’s first mass-produced images and their global circulation expanded the possibilities of the role of photography. During the New Negro era, the transformation of Van Der Zee’s photographs into newsprint became central to their significance.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"4 - 25"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710470","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46496433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-06-01DOI: 10.1086/710473
Kimia R. Shahi
{"title":"William Trost Richards’s “Real Drawing” and the Currency of Watercolor, ca. 1875–85","authors":"Kimia R. Shahi","doi":"10.1086/710473","DOIUrl":"https://doi.org/10.1086/710473","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"54 - 77"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710473","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42641051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-03-01DOI: 10.1086/709416
Harmon Siegel
{"title":"Melvin Edwards Decides","authors":"Harmon Siegel","doi":"10.1086/709416","DOIUrl":"https://doi.org/10.1086/709416","url":null,"abstract":"In 1970 Melvin Edwards crisscrossed a gallery in the Whitney Museum of American Art with barbed wire. His work was in reaction to developments in American art, especially Minimalism, but in material that evoked violent racism, raising significant and still potent questions about how abstract art can meaningfully address the politics of race. Recently, Edwards’s long-neglected work has been featured in several major books and high-profile exhibitions. This scholarship, however, has mostly focused on his response to debates on Black Art in the civil rights era, separating his work from the dominant approaches to modern sculpture that Edwards both referenced and reconfigured. Rather than protest the museum from without, he criticized it from within, addressing the art world’s exclusion of African American artists by installing barbed wire and directing the Minimalist emphasis on literal space toward the more specific problem of Black art in the white cube.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"86 - 111"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709416","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43920189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-03-01DOI: 10.1086/709417
Monica Steinberg
{"title":"Uncivil Obedience","authors":"Monica Steinberg","doi":"10.1086/709417","DOIUrl":"https://doi.org/10.1086/709417","url":null,"abstract":"Scholars and artists have long been interested in socially engaged artworks, particularly those involving civil disobedience. But what of the opposite approach? What of radical adherence? In the 1970s, California-based artist Lowell Darling realized a series of creative endeavors exploiting uncivil obedience, characterized by a conspicuous and hyperbolic compliance with established laws, rules, and mandates. Following the disallowance of proposed deductions to his 1969 federal income tax return, Darling—by way of projects such as the fictional Fat City School of Finds Arts—deconstructed the so-called hobby loss rule of the U.S. Tax Code by rigorously and ironically fulfilling those factors said to indicate a profit-seeking intent. In 1978, Darling mined the intricacies of electioneering norms and campaign finance by staging an insincere run for governor of California. In these projects, Darling mobilized a kind of legal medium for creative expression, manifesting a mode of art-making that departed from expectations about how art and law might interact and intersect within art practice.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"112 - 135"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48411496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
American ArtPub Date : 2020-03-01DOI: 10.1086/709418
E. Broun, David Cateforis, Randall R. Griffey
{"title":"Charles C. Eldredge","authors":"E. Broun, David Cateforis, Randall R. Griffey","doi":"10.1086/709418","DOIUrl":"https://doi.org/10.1086/709418","url":null,"abstract":"","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"136 - 140"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709418","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48739738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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