King George III will not stay on the ground. Ever since a crowd in New York City toppled his equestrian statue in 1776, burying some of the parts and melting the rest into bullets, the king has been riding back into American culture, raising his gilded head in visual representations and reappearing as fragments. In this book, Wendy Bellion asks why Americans destroyed the statue of George III—and why they keep bringing it back. Locating the statue’s destruction in a transatlantic space of radical protest and material violence—and tracing its resurrection through pictures and performances—Bellion advances a history of American art that looks beyond familiar narratives of paintings and polite spectators to encompass a riotous cast of public sculptures and liberty poles, impassioned crowds and street protests, performative smashings and yearning re-creations. Bellion argues that iconoclasm mobilized a central paradox of the national imaginary: it was at once a destructive phenomenon through which Americans enacted their independence and a creative phenomenon through which they continued to enact British cultural identities. Persuasive and engaging, Iconoclasm in New York demonstrates how British monuments gave rise to an American creation story. This fascinating cultural history will captivate art historians, specialists in iconoclasm, and general readers interested in American history and New York City.

In this richly illustrated study, the first book-length exploration of illusionistic art in the early United States, Wendy Bellion investigates Americans' experiences with material forms of visual deception and argues that encounters with illusory art shaped their understanding of knowledge, representation, and subjectivity between 1790 and 1825. Focusing on the work of the well-known Peale family and their Philadelphia Museum, as well as other Philadelphians, Bellion explores the range of illusions encountered in public spaces, from trompe l'oeil paintings and drawings at art exhibitions to ephemeral displays of phantasmagoria, ""Invisible Ladies,"" and other spectacles of deception. Bellion reconstructs the elite and vernacular sites where such art and objects appeared and argues that early national exhibitions doubled as spaces of citizen formation. Within a post-Revolutionary culture troubled by the social and political consequences of deception, keen perception signified able citizenship. Setting illusions into dialogue with Enlightenment cultures of science, print, politics, and the senses, Citizen Spectator demonstrates that pictorial and optical illusions functioned to cultivate but also to confound discernment. Bellion reveals the equivocal nature of illusion during the early republic, mapping its changing forms and functions, and uncovers surprising links between early American art, culture, and citizenship. |In the first book-length exploration of illusionistic art in the early United States, Bellion investigates Americans' experiences with material forms of visual deception and argues that encounters with illusory art shaped citizens' understanding of knowledge, representation, and subjectivity between 1790 and 1825.

Things change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverse scholarly approaches to chart new directions for art history and cultural history. Ranging from California to China, Bengal to Britain, Material Cultures of the Global Eighteenth Century illuminates the transformations within and between artistic media, follows natural and human-made things as they migrate across territories, and reveals how objects catalyzed change in the transoceanic worlds of the early modern period.

The essays that comprise Elusive Archives raise a common question: how do we study material culture when the objects of study are transient, evanescent, dispersed or subjective? Such things resist the taxonomic protocols that institutions, such as museums and archives, rely on to channel their acquisitions into meaningful collections. What holds these disparate things together here are the questions authors ask of them. Each essay creates by means of its method a provisional collection of things, an elusive archive.  Scattered matter then becomes fixed within each author’s analytical framework rather than within the walls of an archive’s reading room or in cases along a museum corridor. This book follows the ways in which objects may be identified, gathered, arranged, conceptualized and even displayed rather than by “discovering� artifacts in an archive and then asking how they came to be there. The authors approach material culture outside the traditional bounds of learning about the past. Their essays are varied not only in subject matter but also in narrative format and conceptual reach, making the volume accessible and easy to navigate for a quick reference or, if read straight through, build toward a new way to think about material culture.

King George III will not stay on the ground. Ever since a crowd in New York City toppled his equestrian statue in 1776, burying some of the parts and melting the rest into bullets, the king has been riding back into American culture, raising his gilded head in visual representations and reappearing as fragments. In this book, Wendy Bellion asks why Americans destroyed the statue of George III-and why they keep bringing it back. Locating the statue's destruction in a transatlantic space of radical protest and material violence-and tracing its resurrection through pictures and performances-Bellion advances a history of American art that looks beyond familiar narratives of paintings and polite spectators to encompass a riotous cast of public sculptures and liberty poles, impassioned crowds and street protests, performative smashings and yearning re-creations. Bellion argues that iconoclasm mobilized a central paradox of the national imaginary: it was at once a destructive phenomenon through which Americans enacted their independence and a creative phenomenon through which they continued to enact British cultural identities. Persuasive and engaging, Iconoclasm in New York demonstrates how British monuments gave rise to an American creation story. This fascinating cultural history will captivate art historians, specialists in iconoclasm, and general readers interested in American history and New York City.