American Art

Italian “image peddlers” sold small plaster sculptural reproductions door to door in the United States during the nineteenth century. Representations of these street vendors illuminate the histories of the art reproductions market, emigration of the Italian Catholic artisans who produced and sold classical and Renaissance figurines, and the Protestant middle-class consumers who purchased them. Using print images from abecedaries (alphabet books) and children’s geographies, this article reveals how an idealized view of the fine arts among the public overrode long-held antipathy toward Catholic imagery and the Italian peddlers themselves. Furthermore, it identifies the central figure of Francis W. Edmonds’s 1844 painting the Image Pedlar as an Italian image peddler. His identity has been overlooked because of the secular inventory on his tray and lack of reference to ethnicity in the painting’s title. These factors allowed viewers to appreciate Edmonds’s subject of an American family enjoying a variety of arts without being discomforted by their own anti-Catholic and anti-Italian biases.

Patricia Johnston

“I” is for “Italian”

“I”代表“意大利”

A cover of the Black Panther newspaper depicting American Indian Movement leaders at Wounded Knee features Oglala elder Frank Fools Crow holding a ceremonial pipe in his uplifted fist, a gesture that resembles the Black Panther salute. The 1974 cover layers the iconographic programs of Native and Black social justice movements; it is a graphic statement of intersectional political resistance. Moreover, the paper’s coverage of the 1973 Wounded Knee occupation and subsequent trials makes a radical visual argument for the ideological continuity of Red Power and Black Power. This essay proposes that the newspaper’s visual director, Emory Douglas, developed an intersectional liberation aesthetics that transformed the critique of structural oppression into a sustained call for radical revolution. Reporting in the Black Panther consistently addressed “all oppressed people,” a perspective that remains relevant for activists today.

Louise Siddons

Red Power in the Black Panther

《黑豹中的红色力量》

Liza Lou’s Kitchen (1991–96) is a work that is about domestic labor, specifically the maintenance work that happens in kitchens, and it is also about making the artist’s own labor manifest. To create this 168-square-foot installation, Lou constructed a replica kitchen and covered every surface with beads, each placed with tweezers and glue. This essay articulates how Lou’s experimental method of beadwork embeds themes of labor and time in relation to the politics of domesticity. Kitchen shares in the 1990s trends in feminist art that investigated historical conditions of labor through nontraditional artistic processes. It also employs then-familiar imagery of twentieth-century advertising, brand labels, and other visual culture to comment on the role of “housewife.” But rather than simply issuing a straight-forward critique, Kitchen reimagines the role of care—the value of attention and maintenance—through its decorative overabundance.

Elyse Speaks

Artistic Process and Domestic Labor in Liza Lou’s Kitchen

丽莎·卢的《厨房》中的艺术创作过程与家务劳动

This is a three-part perspective on a single work of art: Edward Savage’s The Washington Family (1789–96). Mia L. Bagneris’s essay places this painting alongside other images of George Washington with African diasporic subjects from the eighteenth century to the present to illuminate how the iconic image of the founding father—upheld as a symbol of the values of the nation itself—was and is inextricably bound up in White supremacy and anti-Blackness. Jennifer Van Horn’s analysis is cartographic in focus, situating the painting in relation to geographic debates about slavery and the racialized contest over mobility in light of the relocation of the enslaved person depicted, and in relation to a second version of the image displayed at Henry Clay’s Kentucky plantation. Jennifer Germann uncovers the hidden history of the painting’s London creation to explore Savage’s choice of the enslaved attendant portrait format, and his selection of free Black model John Riley, amidst the uncertainty surrounding the portrayal of Black figures in the 1780s and 1790s. She elucidates how disremembering has obscured John Riley as well as historical Black subjects in American art more broadly.

Jennifer Germann

“The Requisite Local Coloring”

“必要的局部着色”

By 1863, new beliefs about the relationship between individual consciousness and the objects of its knowing was dividing American culture, including the art world, into three distinct groups. Mainstream artists and the Pre-Raphaelites both sought to create truthful representations. Mainstream artists like Frederic Church were indirect Realists who assumed that they could know the truth of things in the world as they existed in themselves apart from the perceiver’s apprehension of them. The Pre-Raphaelites were direct Realists who argued that mainstream methods were tainted by subjectivity. Anti-modern conservatives, the Pre-Raphaelites insisted that to create truthful representations artists needed to empty themselves of self, which could be accomplished only with the aid of something like divine grace. Opposed to both these groups was an emergent faction that included artists such as John Frederick Kensett, Sanford Gifford, and Winslow Homer. These artists accepted the inescapability of subjectivity, abandoned the ideal of truth in art, and embraced the idea that works of art should be valued primarily as expressions of the artist’s unique experience.

短名	Am. Art
Journal Impact	0.40
期刊索引	中科院 2 区

ISSN	1073-9300, 1549-6503
h-index	11
国内分区	艺术学(2区)艺术学艺术(2区)

涉及主题	艺术历史视觉艺术艺术史地理哲学政治学法学考古
出版信息	出版商: University of Chicago Press，出版周期: ，期刊类型: journal，开源期刊: 否
基本数据	创刊年份: 1996，原创研究文献占比: 100.00%，自引率:33.30%， Gold OA占比: 0.00%

American Art

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“I” is for “Italian”

Red Power in the Black Panther

Artistic Process and Domestic Labor in Liza Lou’s Kitchen

“The Requisite Local Coloring”

Radically Anti-Modern

Introduction

Forging the Canon

Amistad II

A Washington School “Thing”

Alma W. Thomas