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Citizen Spectator
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. Bell...
Political Economy, Race, and the Image of Nature in the United States, 1825–1878
Political Economy, Race, and the Image of Nature in the United States, 1825–1878 is an interdisciplinary work analyzing the historical origins of a dominant concept of Nature in the culture of the United States during the period of its expansion across the continent. Chapters analyze the ways in which “Nature” became a discursive site where theories of race and belonging, adaptation and environment, and the uses of literary and pictorial representation were being renegotiated, forming the basis for an ideal of the human and the nonhuman world that is still with us. Through an interdisciplinary approach involving the fields of visual culture, political economy, histories of racial identity, and ecocritical studies, the book examines the work of seminal figures in a variety of literary and artistic disciplines and puts the visual culture of the United States at the center of intellectual trends that have enormous implications for contemporary cultural practice. The book will be of interest to scholars working in art history, visual culture, American studies, environmental studies/ecocriticism, critical race theory, and semiotics.
The Embodied Imagination in Antebellum American Art and Culture
This book reveals a new history of the imagination told through its engagement with the body. Even as they denounced the imagination’s potential for inviting luxury, vice, and corruption, American audiences avidly consumed a transatlantic visual culture of touring paintings, dioramas, gift books, and theatrical performances that pictured a preindustrial—and largely imaginary—European past. By examining the visual, material, and rhetorical strategies artists like Washington Allston, Asher B. Durand, Thomas Cole, and others used to navigate this treacherous ground, Catherine Holochwost uncovers a hidden tension in antebellum aesthetics. The book will be of interest to scholars of art history, literary and cultural history, critical race studies, performance studies, and media studies.
The Fruits of Empire
The Fruits of Empire is a history of American expansion through the lens of art and food. In the decades after the Civil War, Americans consumed an unprecedented amount of fruit as it grew more accessible with advancements in refrigeration and transportation technologies. This excitement for fruit manifested in an explosion of fruit imagery within still life paintings, prints, trade cards, and more. Images of fruit labor and consumption by immigrants and people of color also gained visibility, merging alongside the efforts of expansionists to assimilate land and, in some cases, people into the national body. Divided into five chapters on visual images of the grape, orange, watermelon, banana, and pineapple, this book demonstrates how representations of fruit struck the nerve of the nation’s most heated debates over land, race, and citizenship in the age of high imperialism.
Form and Meaning in Avant-Garde Collage and Montage
This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period. Magda Dragu distinguishes between the concepts of collage and montage, as defined across several media (fine arts, literature, music, film, photography), based on the type of artistic meaning they generate, rather than the mechanical procedures involved. The book applies theories of intermediality to collage and montage, which is crucial for understanding collage as a form of cultural production. Throughout, the author considers the political implications, as collages and montages were often used for propagandistic purposes. This book combines research methods used in several areas of inquiry: art history, literary criticism, analytical philosophy, musicology, and aesthetics.
Transporting Visions
"Published with the assistance of the Getty Foundation."
Speculative Landscapes
Introduction -- Land, looking, and futurity in the Hudson Valley -- Digging for gold : allegories of speculation on the Illinois frontier -- Picturing land and labor in the Old Northwest and New England -- Perilous prospects : speculation and landscape painting in Florida -- Painting and property on Prout's Neck -- Conclusion.
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