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As some American artists began to eliminate people and remove
extraneous details from their compositions, they often employed
neat, orderly brushwork or close-up, unemotional photography.
Artists as diverse as Patrick Henry Bruce, John Covert, Georgia
O'Keeffe, Paul Strand and Arthur Dove navigated European and
American avant-garde circles, picking and choosing new ideas and
methods. Inspiration ranged from cubism and machine parts to new
technologies, and they found ways to bring order to the modern
world through extreme simplification. For them, abstraction
involved absence and presence - the evacuation of human beings but
also the desire to depict something that would not otherwise be
visible or to render visible unseen natural processes like the
passage of time, sound waves, or weather patterns. Their artworks
provide a new context for the precisionist works in the subsequent
sections and point to modern ideas about what art could be. How
does a crisp painting technique relate to an aesthetic of absence?
During the 1930s and 1940s, painters Grant Wood, Thomas Hart
Benton, and John Steuart Curry formed a loose alliance as American
Regionalists. Some lauded their depictions of the rural landscape
and hardworking inhabitants of America's midwestern heartland;
others deemed their painting dangerous, regarding its easily
understood realism as a vehicle for jingoism and even fascism.
Cultivating Citizens focuses on Regionalists and their critics as
they worked with and against universities, museums, and the
burgeoning field of sociology. Lauren Kroiz shifts the terms of an
ongoing debate over subject matter and style, producing the first
study of Regionalist art education programs and concepts of
artistic labor.
In turn-of-the-century New York, the photographer and modern art
impresario Alfred Stieglitz and his allies embraced a racialized
aesthetic discourse in their expressions of identity in the modern
era. This book examines the often-neglected role played by
immigrant artists and critics in the Stieglitz circle, including
Japanese-German author Sadakichi Hartmann, Mexican-born
caricaturist Marius de Zayas and English Sri-Lankan curator Ananda
Coomaraswamy, as well as better-known U.S.-born painters, including
Arthur Dove and Georgia O'Keeffe. Creative Composites argues for a
new understanding of early American modernism as a "composite
modernism". It analyzes episodes in the Stieglitz circle's use of
diverse new media - photography, caricature, film, and collage - to
frame their modernist practice as part of the ongoing national
dilemma of integrating difference.
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