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A rich exploration of American artworks that reframes them within
current debates on race, gender, the environment, and more Object
Lessons in American Art explores a diverse gathering of
Euro-American, Native American, and African American art from a
range of contemporary perspectives, illustrating how innovative
analysis of historical art can inform, enhance, and afford new
relevance to artifacts of the American past. The book is grounded
in the understanding that the meanings of objects change over time,
in different contexts, and as a consequence of the ways in which
they are considered. Inspired by the concept of the object lesson,
the study of a material thing or group of things in juxtaposition
to convey embodied and underlying ideas, Object Lessons in American
Art examines a broad range of art from Princeton University's
venerable collections as well as contemporary works that
imaginatively appropriate and reframe their subjects and style,
situating them within current social, cultural, and artistic
debates on race, gender, the environment, and more. Distributed for
the Princeton University Art Museum
Eminent art historian Charles C. Eldredge brings together top
scholars to celebrate forgotten artists and create a more inclusive
history of American art. Why do some artists become canonical,
while others, equally respected in their time, fall into obscurity?
This question is central to The Unforgettables, a vibrant
collection of essays by leading experts on American art. Each
contributor presents a brief for an artist deserving of new or
renewed attention, including artists from the colonial era to
recent years working in a wide variety of mediums. Histories of
American art have traditionally highlighted the work of a familiar
roster of artists, largely white and male. The achievements of
their peers, notably women and artists of color, have gone
uncelebrated. The essays in this volume provide a new and richer
understanding of American art, expanding the canon to include many
worthy talents. A number of these artists were acclaimed in their
day; others, having missed that acclaim, may achieve it now. With
contributions from major scholars and museum professionals, The
Unforgettables rescues and revises reputations as it enhances and
enriches the history of American art.
Reveals how American art in the 1930s—intertwined with the
political, social, and economic tumult of an era not so unlike our
own—engaged with the public amid global upheaval  Focusing
on the unprecedented dissemination of art and ideas brought about
by new technology and government programs, this publication
examines the search for artistic identity in the United States from
the stock market crash of 1929 that began the Great Depression to
the closure of the Works Progress Administration in 1943. During
this time of civil, economic, and social unrest, artists
transmitted political ideas and propaganda through a wide range of
media, including paintings and sculptures, but also journals,
prints, textiles, postcards, and other objects that would have been
widely collected, experienced, or encountered. Insightful essays
discuss but go beyond the era’s best-known creators, such as
Thomas Hart Benton, Walker Evans, Marsden Hartley, and Georgia
O’Keeffe, to highlight artists who have received little scholarly
attention, including women and artists of color as well as
designers and illustrators. Emphasizing the contributions of the
Black Popular Front and Leftist movements while acknowledging
competing visions of the country through the lenses of race,
gender, and class, Art for the Millions is a timely look at art in
the United States made by and for its people. Â Published by
The Metropolitan Museum of Art/Distributed by Yale University Press
 Exhibition Schedule:  The Metropolitan Museum of
Art, New York (September 6–December 10, 2023)
The Light at the End of History: Reacting to Nuclear Impact
presents photographs from artist Abbey Hepner's decade-long
examination of nuclear energy, the atomic bomb, and radioactive
waste. By capturing distinct marks in time, Hepner makes visible
the ongoing, often invisible, relationships with nuclear
technologies.
Race and Vision in the Nineteenth-Century United States is a
collection of twelve essays by cultural critics that exposes how
fraught relations of identity and race appear through imaging
technologies in architecture, scientific discourse, sculpture,
photography, painting, music, theater, and, finally, the
twenty-first century visual commentary of Kara Walker. Throughout
these essays, the racial practices of the nineteenth century are
juxtaposed with literary practices involving some of the most
prominent writers about race and identity, such as Herman Melville
and Harriet Beecher Stowe, as well as the technologies of
performance including theater and music. Recent work in critical
theories of vision, technology, and the production of ideas about
racial discourse has emphasized the inextricability of photography
with notions of race and American identity. The collected essays
provide a vivid sense of how imagery about race appears in the
formative period of the nineteenth-century United States.
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