American ArtPub Date : 2020-03-01DOI: 10.1086/709414
Monica Bravo
{"title":"“The Last Word in Direct Naive Realism”","authors":"Monica Bravo","doi":"10.1086/709414","DOIUrl":"https://doi.org/10.1086/709414","url":null,"abstract":"This article focuses on the exceptional appeal to modernists of pulquerías: working-class Mexican bars often generously painted on their exteriors. Specifically, this article focuses on two essays published by Diego Rivera and illustrated with photographs by Edward Weston that appeared in the bilingual journal Mexican Folkways in 1926. Through their praise, the two artists sought to align themselves both aesthetically and politically with the popular. Set against the backgrounds of folk revivals in both the United States and Mexico, as well as the Mexican mural movement, each artist drew on a distinct aspect of the pulquerías to make their own modernist art—Rivera on the tragicomic vacilada and Weston on the tension between representation and the real. Rather than reinforce the binary relationships Rivera and Weston imagined to exist between tradition and modernity, this article argues for the hybridity of both modernist and folk art constructs. Far from requiring either modernist “salvage” or transformation, an idea that forecloses the possibility of folk art’s dynamic development, the pulquerías proved to be equally responsive to the conditions of modernity.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"20 - 49"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709414","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47392227","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: 10.1086/709413
J. Vartikar
{"title":"Ruth Asawa’s Early Wire Sculpture and a Biology of Equality","authors":"J. Vartikar","doi":"10.1086/709413","DOIUrl":"https://doi.org/10.1086/709413","url":null,"abstract":"In a fundamentally new interpretation, this article examines how the artist Ruth Asawa’s early wire sculptures engaged the poetics of biology as a metaphor for racial equality. Asawa’s overlooked personal papers attest to her ruminations about race and biology while she was a student at Black Mountain College, from 1946 to 1949. There, Asawa’s earliest wire works proliferated from diagrams in her biology class textbooks—The Invertebrata and Winchester Zoology. Over the next decade, and indeed for the remainder of Asawa’s life, the artist’s biomorphic experiments evoked dividing cells and primordial invertebrates—the biological processes and precedents that constitute all life-forms—gesturing to midcentury scientists’ particular notions of racial equality at the biological level. Asawa’s biological gesture thus seems to be an explicit exfoliation of racial hierarchy, and a rebuttal to the mid-century’s racializing characterizations of her art—like one critic’s description of them as “Eastern yeast.”","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"2 - 19"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709413","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48081501","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: 10.1086/709415
B. Wolf
{"title":"Between the Lines","authors":"B. Wolf","doi":"10.1086/709415","DOIUrl":"https://doi.org/10.1086/709415","url":null,"abstract":"In the years between 1967 and 1970, Philip Guston scandalized the New York art world by renouncing abstraction and turning instead to figurative modes of painting characterized by cartoonish images that mixed Ku Klux Klan hoods, idioms of popular culture, and a private vocabulary of cigars, light bulbs, legs, shoes and other assorted—and often hairy—body parts. Buried within these often outlandish works are three recurring concerns: questions of pilgrimage, revelation, and epiphany that link Guston to Hudson River School painting of the nineteenth century; a covert interest in writing as a cultural logic that informs his own painting practices; and an obsessive focus on lines that distinguishes Guston’s art from the drips and gestural forms of Jackson Pollock. Ultimately, each of these concerns points to what I take to be the real—and unspoken—focus of Guston’s figurative work: the history and memory of the Holocaust.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"34 1","pages":"50 - 85"},"PeriodicalIF":0.2,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709415","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44590090","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 : 2019-09-01DOI: 10.1086/707475
D. McCarthy
{"title":"Of Plush and Imitation Knotty Pine","authors":"D. McCarthy","doi":"10.1086/707475","DOIUrl":"https://doi.org/10.1086/707475","url":null,"abstract":"H. C. Westermann’s sculptures The Plush (1963) and Imitation Knotty Pine (1966)—are representative of his occasionally facetious response to concurrent sculptural practices in the United States. A close look at his media, production, form, and content reveals a disaffection for the then-fashionable emphases on industrial materials and technologies, material specificity, and reductive form that were linked to David Smith and, later, the minimalists. Like Marisol and Robert Arneson, Westermann rejected modernist ideas about sculpture. This article offers an historically grounded, contextual analysis of these two works and unearths an extensive web of references and allusions. Westermann’s response to modernist and minimalist practices was a refusal of aesthetic autonomy for an art that openly celebrated, even insisted upon, a democratic ethos.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"33 1","pages":"32 - 55"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707475","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46893376","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 : 2019-09-01DOI: 10.1086/707477
Elizabeth Butler
{"title":"John Henry Twachtman and the Materiality of Snow","authors":"Elizabeth Butler","doi":"10.1086/707477","DOIUrl":"https://doi.org/10.1086/707477","url":null,"abstract":"This article provides a new look at John Henry Twachtman’s celebrated snowscapes. While scholars have discussed the “therapeutic” nature of these works, I argue that there is more to say about these paintings and that they should be considered for what they are literally about: snow. Twachtman’s snow scenes, I believe, are about snow’s materiality—its wetness, its coldness, and its texture. In focusing on snow’s materiality, I argue that Twachtman’s snow scenes were distinct from those made by his contemporaries. I contend that they provided Twachtman with an opportunity to experiment with oil paint in a way that was bold and innovative.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"33 1","pages":"74 - 93"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707477","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44888763","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 : 2019-09-01DOI: 10.1086/707476
D. Linden
{"title":"“In Honor of Dr. Martin Luther King”","authors":"D. Linden","doi":"10.1086/707476","DOIUrl":"https://doi.org/10.1086/707476","url":null,"abstract":"This article draws equally from archives as well as artwork, most of which remains unlocated. In 1963 William Christopher (1924–1973), a thirty-nine-year-old gay, white, Southern, Christian, dedicated his year’s output to Dr. Martin Luther King Jr. Christopher chronicled the year and his progress in a previously unknown diary. He created a series of paintings of African American women holding white masks and mirrors as symbols of racial oppression, and a black-and-white collage about the ongoing violence in Birmingham, Alabama. Christopher wrote King to offer a painting, which was accepted. In 1964 the two men met. In 1965 King invited Christopher to bring his 1963 paintings to Selma and join the march to Montgomery, which the artist did. William Christopher’s story and artwork are relevant to contemporary studies of whiteness and racism in American art. My article offers Christopher a greater audience than he ever knew and that he surely deserves.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"33 1","pages":"56 - 73"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707476","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41612193","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 : 2019-09-01DOI: 10.1086/707469
A. Verplanck
{"title":"How We Might View Artists as Businesspeople","authors":"A. Verplanck","doi":"10.1086/707469","DOIUrl":"https://doi.org/10.1086/707469","url":null,"abstract":"This essay suggests the roles artists and individuals in art-related businesses played as agents and actors in a capitalist society during the early national and antebellum period in America. Many artists and those in allied fields met and created demand for established and novel products, which depended, in part, on the introduction and timing of new methods and materials, and corresponding capital expenditures. Experimentation and innovation, calculated risks, and calamities were all familiar to those who created, produced, and circulated art. They also relied on ever-changing transportation and distribution networks for materials, supplies, and delivery of finished products. Although the fields of business and economic history can provide some models, art historians, too, have much to add to discussions of capitalism.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"33 1","pages":"10 - 13"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707469","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44980073","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 : 2019-09-01DOI: 10.1086/707473
M. Cao, Sophie Cras, Alex J. Taylor
{"title":"Art and Economics Beyond the Market","authors":"M. Cao, Sophie Cras, Alex J. Taylor","doi":"10.1086/707473","DOIUrl":"https://doi.org/10.1086/707473","url":null,"abstract":"Connections between economics and art encompass far more than simply the art market. By looking beyond auction prices, artists’ career trajectories, and marketing strategies, scholars can better engage with the economic significance of art objects in a range of social and discursive fields. This essay proposes that works of art are often the best material evidence of broader economic debates and conditions beyond the market economy, even beyond capitalism. Our claims are twofold. Although financial transactions are often considered abstract, we suggest that the economic sphere is populated with material objects that merit art-historical attention. Artworks, meanwhile, reveal the forces of a global market beyond the limits of the art world. They do not simply thematize or represent economic issues; they are also agents partaking in the economic debates of their time.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"33 1","pages":"20 - 26"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707473","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45213064","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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