Isabel Frampton Wade

American Art

Harry Drinkwater and the Limits of Architectural Photography, 1966–69

Miguel de Baca

A Washington School “Thing”

Covers

Jonathan Frederick Walz

Alma W. Thomas

Julie L. McGee

<i>Amistad II</i>

Front Matter

Announcements

Glenn Willumson

Forging the Canon

Kim Bobier

Disarming Surveillance

During the postwar economic boom, the American market was flooded with amateur cameras. While designed primarily to record domestic life, these cameras have become so ubiquitous that today we expect almost any event, from a family vacation to an act of police brutality, to have been captured on film or video. These moments where everyday citizen becomes accidental journalist highlight the democratic possibility of vernacular cameras to capture unofficial and uncensored records of history. Yet citizen photojournalism is also part of a broader epistemological shift in our perception of history. Such images not only offer evidence of what happened, they also situate the viewer as a citizen witness to history and thus encourage a "first person" affective response. To examine this shift, I focus on the urtext of citizen photojournalism: Abraham Zapruder's home movie of the assassination of John F. Kennedy. In contrast to the standard journalistic or forensic camera image, the vernacular Zapruder film offers a more participatory relation to history, but one that is also more subjective. This essay will explore three distinct iterations of the Zapruder film: in the pages of Life magazine, in the irreverent and humorous 1975 performance/video artwork Eternal Frame, and in the experiential museum display of The Sixth Floor Museum at Dealey Plaza. Each instance engages with amateurs and their cameras in distinct and revealing ways and draws attention to our evolving perception of citizen photojournalism as both empirical evidence and an experiential framework for feeling history.

Catherine Zuromskis

History in the First Person

Hampton Smith

Tapping Canvases

Though Douglas Huebler is most well-known for his photo-conceptualist works, this article explores how the artist innovatively employed another medium: the limited-edition print. While early chroniclers of Conceptual art often emphasized the artworks' resistance to being bought and sold, I argue that Huebler created limited editions intended specifically for the collector's market, using the medium as a conceptual tool to reshape the relationship between artist and collector. The structure of the limited edition both prompted Huebler to conceive of art collecting as a collective endeavor, with each owner of the edition a node in an interconnected network, and endowed the artist with the ability to authorize impressions as authentic and inauthentic. In a moment when works of art were increasingly treated as financial assets, the limited-edition print provided Huebler with a vehicle for questioning the nature of ownership, authorship, and value.

Rachel Vogel

Leveraging the Limited Edition

Colton Klein

The Turpentine State

Next article FreeCoversPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreCover: Lalla Essaydi, Les Femmes du Maroc: La Grande Odalisque, 2008. Chromogenic print mounted to aluminum with a UV protective laminate, 30 × 40 in. © Lalla Essaydi, Courtesy the artist and Edwynn Houk Gallery, New YorkBack cover: Sargent Johnson, Forever Free, 1933. Paint and wood, 36 × 11 ½ × 9 ½ in. San Francisco Museum of Modern Art, Gift of Mrs. E. D. Lederman. Photo: Don Ross © Estate of Sargent Johnson Next article DetailsFiguresReferencesCited by American Art Volume 37, Number 3Fall 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/727537 © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Previous articleNext article FreeFront MatterPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 3Fall 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/727538 © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

In 1960, Cedric Dover published American Negro Art, only the third book-length survey of African American art ever printed. The first was Alain Locke’s 1940 The Negro in Art and the second, James Porter’s Modern Negro Art from 1943. Leading up to the 1960 publication, Dover and Porter corresponded, and their letters concerning photographic reproductions reveal a heated exchange as Porter stalwartly refused to supply the reproductions, claiming he owned the copyright to the images and the art history itself. Analyzing the archived correspondence, this article raises a series of critical questions of interest related to proprietorship, precedent, reproduction, and process that encourage scholars to reexamine the challenges in expanding the canon of a new field of study, here African American art, and the centrality of the visual or the image in art-historical texts.

Rebecca VanDiver

Image Rights, Proprietorship, and Precedent in Cedric Dover’s <i>American Negro Art</i> (1960)

Decades before copyright law established the principle of “work for hire” in 1909, illustrated weekly newspapers treated the drawings of their contributing sketch artists as raw material prepared for publishers and thus rightfully under their control. Such attitudes made sense to employers given the high costs of maintaining embedded war artists during the Civil War, when contemporaneous illustrated reportage emerged as a key selling point for the pictorial press. Before the illustrated weeklies began acknowledging their sketch contributors, some war artists bristled at the process of having their on-the-spot drawings finished, modified, or co-opted by woodblock delineators on the home front, especially when such copyists followed the convention of signing their designs.

Baird Jarman

Many Hands Make Light-Fingered Work

In 1964, the Fluxus artist Robert Watts set out to copyright the term “Pop art,” thereby, as Watts himself put it, “preventing its use.” After consulting with a lawyer, Watts discovered that his plan to assume control over “Pop art” would not be feasible under copyright law but could instead be partially enacted through United States trademark provisions. This article argues that Watts’s shift in focus from copyright to trademark, which ultimately led to his piece Addendum to Pop, offers surprising insight into the legal and aesthetic underpinnings of the Pop movement.

Colby Chamberlain

An Addendum to Pop

Previous articleNext article No AccessCommentaries: Copyright and Creative PracticeConclusion A CodaAnne Collins GoodyearAnne Collins Goodyear Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 3Fall 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/727548 © 2023 Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Anne Collins Goodyear

Conclusion

Marcel Duchamp, Copyright, and the Emergence of Art as Idea

This article examines how statutory copyright protection initially proved a doubled-edged sword for painters in the United States at the turn of the twentieth century. On the one hand, the 1870 Copyright Act granted them greater control over the reproduction of their work, an advantageous economic privilege. However, it also subjected paintings to a range of rules that threatened the visual integrity and status of their work. Chief among these was the notification requirement, which obliged artists to inscribe their works with a standard notice that included the name of the rights holder and the date (e.g., “Copyright 2023 Katherine Mintie”). Through an examination of cases regarding the applicability of the notification requirement to paintings, this article shows how the law came to accommodate the growing appreciation, both cultural and economic, of paintings in the early twentieth century and contributed to attitudes about cultural hierarchies that persist to this day.

Katherine Mintie

A Means of Protection or Destruction?

The “Seattle Pole” is a Taantʼa ḵwáan G̱aanax̱.ádi Tlingit totem pole that Seattle businessmen stole from Alaska in 1899 and that still stands in replica in Seattleʼs Pioneer Square today. Although the history of its heist is well-known on the Northwest Coast, the efforts of Indigenous people to reclaim it are not well-documented. This essay considers a little-known newspaper statement of a Tlingit woman named Anisa̱lag̱a (Mary Ebbets Hunt) who claimed the pole based on Tlingit copyright law for at.óow and other crest objects. In Tlingit culture, the commissioning clan (and not the artist) has the right to display and commission at.óow and tell their associated stories. The paper considers Tlingit copyright law in relationship to Western patrilineal inheritance laws that Tlingit people like Anisa̱lag̱a had to negotiate in seeking settlement for the theft of clan at.óow.

Emily L. Moore

Anisa̱lag̱a’s Claim to the “Seattle Pole”

In 2015, People for the Ethical Treatment of Animals sued the wildlife photographer David Slater for breach of copyright for publishing photographs, known as the Monkey Selfies, allegedly taken by Naruto, a Celebes crested macaque. The case brings up important questions about animal agency, animal authorship, and animal rights in the United States. Putting Naruto’s selfies in conversation with animal-generated photography from the late nineteenth century and my own camera-trap images, I question if copyright is the best way to use photographs as an argument for animal rights. Instead, I turn to the photo-theorist Ariella Aïsha Azoulay’s “civil contract of photography” to read animal-generated photography as a collaborative act that produces a sort of deterritorialized citizenship. Like the political philosophers Sue Donaldson and Will Kymlicka’s call to rely on a citizenship model to relate to animals, Azoulay’s theory allows us to view the animals in their self-generated images as participatory citizens.

Jessica Landau

Can Animals Own Copyright?

In this article, I consider Judy Malloy’s durational performance and multimedia artwork, OK Genetic Engineering (OKGE), 1983–86, in relation to evolving intellectual property laws in the United States and the progression of neoliberalism in the San Francisco Bay Area. Scholars across disciplines have considered the myriad implications of the landmark decisions that allowed for the patenting of genetically engineered lifeforms. These new laws paved the way for the creation of the biotechnology industry, challenged existing conceptions of what constitutes a lifeform, and extended the neoliberal privatization of all things public. Malloy’s imagined biotech company, OKGE, incorporated patents, trademarks, and copyright into its many iterations. Thus, the artwork critiqued not only new patent laws, but also intellectual property at large. I argue that Malloy’s OKGE relied on the ephemerality of performance, the distribution of materials through the mail-art network, and the cheapness of her chosen materials to reject intellectual property and the harmful effects it had on creative expression and the public good.

Megan Hines

Parodying the Biotech Industry

This article offers the first sustained exploration of a group of transfer drawings made by Robert Rauschenberg in 1958, a crucial moment in the artist’s long and influential career. The discussion is grounded in the discovery of Rauschenberg’s newspaper source material, which points to striking yet undisclosed patterns of reference within the works, enabling new interpretations and richer forms of connection to the historical moment of their production. Perhaps more important, they also reveal a striking temporal compression: in one drawing, for example, every transfer was made from newspapers published on a single day. This aligns the drawings not just with the legible content of the newspaper but also with its temporal logic. The article explores Rauschenberg’s embrace of contingency, his appeal to and subversion of reading habits proper to the papers, and the role of intermittence and fragmentation in the work, alongside his motivated engagement with specific political themes.

Ed Krčma

Drawing in the Daily News

Claire Beckett’s series Simulating Iraq consists of large-scale portraits and landscapes taken in U.S. military training centers, where fabricated Afghan and Iraqi villages help soldiers prepare for deployment. Granted special access as an embedded artist, Beckett documents the simulation techniques used to portray the alien peoples, cultures, and landscapes of the Middle East. Questions of authenticity are also central to The Converts, large-format portraits of people who have adopted Islam as adults. Drawing on the representational strategies of nineteenth-century Orientalist painting, Beckett plays into an exoticist fantasy of the Middle East and deliberately undermines the photographs’ reliability as cultural documents. The reinterpretation of Orientalism opens up a performative space in which multiple and conflicting identity formations can be enacted both at the level of the image and in the lived realities shaped by it. They point to the contradictions inherent in popular conceptions of the “Middle East” within the United States.

Chad Elias

Islam and the Middle East in the United States

Previous article FreeAnnouncementsPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 3Fall 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/727552 © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Previous articleNext article No AccessCommentaries: Copyright and Creative PracticeCopyright and Creative Practice An IntroductionAnne Collins GoodyearAnne Collins Goodyear Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 3Fall 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/727539 © 2023 Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Copyright and Creative Practice

Tess Korobkin

Monumental Absence

Previous articleNext article FreeFront MatterPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 2Summer 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/725899 © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

In this essay I undertake a speculative reading of two lithographic prints made by the Mexican artist José Clemente Orozco during his second and longest stay in the United States, between 1928 and 1934. The first and last prints he made during this sojourn both represent spectacles of performance and pain associated with the public life of Blackness. Using affect theory to read the formal and iconographic cues in these prints, I suggest that they reflect the artist’s complex relation with the U.S.-American “color line.” Rather than assuming Orozco’s images reflect a White subject position, I explore the ways they intimate what the performance studies scholar José Esteban Muñoz theorized as a “sense of brown.”

Mary K. Coffey

Feeling Brown or Acting White?

This essay examines the video work UNKNOWN BORICUA STREAMING: A Nuyorican State of Mind (2011) by the Brooklyn-born Nuyorican artist Juan Sánchez. The video is a digital collage that incorporates photographs of Puerto Rican migrants reposited in the archive of the Migration Division at the Center for Puerto Rican Studies at Hunter College (Centro de Estudios Puertorriqueños), along with materials mined from Sánchez’s own archive. The images are set against a flickering, multicolored grid and accompanied by a transnational soundtrack of musical and vocal clips. Given Sánchez’s fracturing of the grid, I interpret the video as a counter-archive that interrogates his community’s encounter, both stateside and in Puerto Rico, with U.S. neocolonialism. Moreover, as a Black “AmeRícan” (a concept borrowed from poet Tato Laviera), Sánchez’s collage renders visible how his community’s struggle is inexorably connected to other civil rights struggles in the United States, and to global human rights movements.

Adriana Zavala

Juan Sánchez’s Counter-Archive

This article aims to recover the work of American artist Donald Evans (1945–1977), who operated on the fringes of conceptual art. Evans created postage stamps for imaginary nations, which he collected in his Catalogue of the World. Evans’s system of images, painstakingly drawn on paper and painted with watercolors, references the decolonizing world of the 1960s–70s. Through fictional countries like the “Oriental” state of Adjudani, or the former colonies of Katibo and Amis et Amants, the artist captured the volatile international scene of his day, torn by the violent forces of colonial heritage. Painting and cataloging went hand in hand in his project, which attempted—not always successfully—to arouse critical thinking about domination through images, the structuration of different worldviews, and the predatory dimension of cataloging.

Sophie Cras

Donald Evans

Jordan Reznick

Indigenous Space

Lee Ann Custer

The Clean, Open Air of John Sloan’s Tenement Paintings

Previous article FreeAnnouncementsPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 2Summer 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/725905 © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Nationwide media coverage of the massive cut glass bowl gifted to President McKinley in 1898 extended the vessel’s audience from one man to the masses. In this essay, I show how the artifact and its fanfare offered a political service and, perhaps, disservice to the politician’s public image, especially as it pertained to his advocacy for laborers like those foregrounded in many reports of the bowl. Though not commissioned by McKinley or his administration, the bowl celebrated the president as a defender of American industries, like glassmaking, through protective tariffs. Accounts of the gifting and other primary sources support this interpretation. But the bowl could also undercut McKinley’s posturing as the “full dinner pail” candidate for workers in the wake of the 1893 depression. This interpretation requires a more speculative approach attentive to how the object’s materiality intersected with wider discourses around the president, luxury, and labor during the period.

Joseph H. Larnerd

The McKinley Bowl’s Services and Disservices, 1898–1901

Next article FreeCoversPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreCover: Alonzo Schoff and Joseph Andrews (engravers); Luther Holman Hale (photographer), Ellen Craft: The Fugitive Slave, ca. 1849–50. Steel engraving from a daguerreotype. From Ellen Smith Craft Photo Album, box 1, folder 3, Craft and Crum Families papers, 1780–2007. Courtesy Avery Research Center for African American History and Culture, College of Charleston, Charleston, S.C.Back cover: Jeff Davis, in His Traveling Costume, 1865. Albumen print on card mount, carte de visite format, 3 15/16 x 2¾ in. Liljenquist Family Collection of Civil War Photographs, Library of Congress Prints and Photographs Division, Washington, D.C. Next article DetailsFiguresReferencesCited by American Art Volume 37, Number 1Spring 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/725487 Views: 151Total views on this site © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Over the past decade, scholars have contributed to a growing body of work interrogating the carceral system in the United States and its role in the maintenance of settler colonialism and racial capitalism. Nicole R. Fleetwood’s theory of “carceral aesthetics” allows this scholarship to be applied to the history and criticism of works of art. Using Fleetwood’s ideas as a point of departure, this article examines the context, preparatory work, and archival legacy Ben Shahn’s plans for a mural cycle at the new jail on Rikers Island (ca. 1935), which were never executed. The Municipal Art Commission responsible for the rejection of his sketches claimed that it had done so based on the “bad psychological effect” that the murals might have on the men incarcerated there. Shahn and his collaborator, Lou Block, contested this claim. This reassessment of the project argues that concerns about psychological appropriateness were merited and that the murals would have participated in the ideology that has ultimately turned Rikers Island into the notoriously inhumane institution it is today.

Davida Fernández-Barkan

Of Murals and Men

Days after his release from prison in 1867, Jefferson Davis arrived in Montreal with his wife, Varina, to join their children and extended family. Soon after, the Davis clan presented themselves to William Notman, Canada’s foremost photographer. The resulting portraits deftly reframed the failed leader as a dedicated family man and sought sympathy and kinship through his children. This article examines the production and circulation of Notman’s images of the Davis family to flesh out the visual history of the Lost Cause. I argue that the project of historical revisionism began much sooner than commonly assumed and relied on the most innocuous of forms, family photographs. The portraits encapsulate a vision of the family that Varina had been actively cultivating and point toward the role of women in leveraging the political power of family photography. From a contemporary perspective, these portraits also disrupt Canada’s progressive self-presentation in the context of U.S. slavery and direct attention to the continental imprint of White supremacy.

Sarah Parsons

Domesticating Jefferson Davis

Carl Van Vechten created a set of portraits of African American entertainers who knew each other through an interracial New York—London circuit during the interwar period. Less studied than the New York—Paris axis, this network offers rich insights for those interested in this important moment in modernist and African American cultural histories. Best known for the controversial racial views promulgated in his infamous novel Nigger Heaven (1926), Van Vechten, in his photographic practice, reveals a different approach to race. An analysis of his photographs reveals that he and this cohort refashioned Blackness in their own terms. Blackness was displaced to expressive shadow, becoming a malleable sign divorced from the body that allowed them to negotiate racial identities that were distinguished from inherited stereotypes. The acknowledgment that race was a social construct opened up new possibilities for living unfettered by traditional constraints on African American lives.

Camara Dia Holloway

Dark Stars

Previous articleNext article FreeFront MatterPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 1Spring 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/725488 Views: 45Total views on this site © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Previous article FreeAnnouncementsPDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by American Art Volume 37, Number 1Spring 2023 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/724510 Views: 39Total views on this site © 2023 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

This essay is the first study of the formerly enslaved woman Ellen Craft’s nineteenth-century photograph album and its contents, and the first study linking Craft’s album to one owned by another nineteenth-century African American woman, Arabella Chapman. Examining Craft’s album and its connections offers an opportunity to consider how African American women employed domestic photograph albums to record their experience of freedom. Past scholarship on photographs of famous formerly enslaved men and women has emphasized how these “self-made” individuals used photography to assert their autonomy in freedom. And, Craft herself participated in this convention when posing for her famous portrait disguised as the White man “William Johnson,” whose identity she passed through in order to obtain her freedom. Yet, this scholarship has not yet engaged the issue of family in photographs of the famous formerly enslaved. My study introduces Craft’s album as visualizing freedom differently through the linkage of photographs of family and friends across pages and under an album’s tight bindings. The book joins photographs together as material representations of Black familial and community bonds that had faced ever-present threats of violation and rupture under slavery. It visualizes freedom not so much in autonomous identity, but via cultivated connections between family and friends in respectable domestic space. Today, the mnemonic notations, fingerprints and smudges on its pages from the hands of four generations of female descendants after Craft reveal the album’s long legacy of preserving affirmative, embodied memories of attachment amongst African American women.

Mary Shelley Trent

Visualizing Freedom

This essay argues that the Index of American Design helped transform understandings of White racial identity in the United States during the second quarter of the twentieth century. In the wake of the Immigration Act of 1924, Euro-Americans were seen less as a malignant horde of separate races and more as a benign collection of ethnicities that made up a unified White or “Caucasian” race. The Index of American Design, a Works Progress Administration Federal Art Project of 1936–1942 that produced thousands of illustrations documenting decorative arts before 1900, constructed a canon of American art around these White ethnic groups. The Index excluded most objects made by Native, African, and Asian Americans and instead sought out “folk art” produced by relatively isolated or archaic groups descended from European immigrants. By celebrating the diversity of White Americans and presenting their material culture as the basis for a unified American art, the Index of American Design helped codify White racial formation and its underpinning of American national identity.

K. L. H. Wells

Indexing Whiteness to American Design

This article introduces African elephants into the study of ivory miniatures in the nineteenth-century United States. Despite the presence of elephant tusk in these diminutive portraits, discussion of the massive mammals remains absent in art-historical scholarship. This omission obscures the transatlantic networks of violence that enabled the creation of miniatures, including the enslavement of human beings and the hunting of elephants. Tracing this history makes possible a new critique of the representation of White skin on ivory. Seizing upon the material’s unique translucency, miniaturists participated in a broader trend of idealizing White bodies by rendering them immaterial. This aesthetic tactic affirmed racial hierarchy by setting Whiteness in opposition to Blackness, conceptualized as opaque and basely material. In order to undermine this insidious ideology, this article looks at rather than through the translucent slivers of ivory to uncover a profoundly material Whiteness—constituted by violence inflicted upon other bodies, both animal and human.

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
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

期刊引文格式

只有1位作者的期刊

有2位作者的期刊

有3位作者的期刊

有5位以上作者的期刊

书籍引用格式

学位论文引用格式

网页引用格式

专利引用格式

最新文章

Harry Drinkwater and the Limits of Architectural Photography, 1966–69

A Washington School “Thing”

Covers

Alma W. Thomas

<i>Amistad II</i>

Front Matter

Announcements

Forging the Canon

Disarming Surveillance

History in the First Person

Tapping Canvases

Leveraging the Limited Edition

Covers

Front Matter

Announcements

The Turpentine State

Covers

Front Matter

Image Rights, Proprietorship, and Precedent in Cedric Dover’s <i>American Negro Art</i> (1960)

Many Hands Make Light-Fingered Work

An Addendum to Pop

Conclusion

Marcel Duchamp, Copyright, and the Emergence of Art as Idea

A Means of Protection or Destruction?

Anisa̱lag̱a’s Claim to the “Seattle Pole”

Can Animals Own Copyright?

Parodying the Biotech Industry

Drawing in the Daily News

Islam and the Middle East in the United States

Announcements

Copyright and Creative Practice

Monumental Absence

Front Matter

Feeling Brown or Acting White?

Juan Sánchez’s Counter-Archive

Covers

Donald Evans

Indigenous Space

The Clean, Open Air of John Sloan’s Tenement Paintings

Announcements

The McKinley Bowl’s Services and Disservices, 1898–1901

Covers

Of Murals and Men

Domesticating Jefferson Davis

Dark Stars

Front Matter

Announcements

Visualizing Freedom

Indexing Whiteness to American Design

Picturing White Skin on Elephant Tusk

帮你贴心管理全部的文献.css-5myebc{font-size:14px;font-weight:var(--chakra-fontWeights-normal);margin-top:var(--chakra-space-1);margin-bottom:var(--chakra-space-1);}研飞ivySCI，高效的论文管理

帮你贴心管理全部的文献
研飞ivySCI，高效的论文管理