| 1.
|
August
28
|
INTRODUCTION
|
|
2.
|
September
4
|
REVOLUTION [Discussion leader: Gwynneth]
•Margaretta M. Lovell, Art in a Season of Revolution.
•Louis P. Masur, "Reading
Watson and the Shark," New England Quarterly 67 (September
1994): 427-454.
Optional
Reading:
•Donald H. Cresswell, comp., The American Revolution in Drawings
and Prints: A Checklist of 1765-1790 Graphics in the Library of Congress
(Washington, D.C., 1975).
•Michael Wynn Jones, The Cartoon History of the American Revolution
(New York, 1975).
•Alfred F. Young and Terry J. Fife, with Mary E. Janzen, We The
People: Voices and Images of the New Nation (Philadelphia, 1993).
|
|
| 3.
|
September
11 |
JACKSONIAN
POLITICS AND SOCIETY [Discussion leader: Mariel]
•Constance
Rourke, American Humor, chapters 1-5, 7.
•Bernard
F. Reilly, Jr., American
Political Prints, 1776-1876: Catalog of the Collection of the Library of
Congress, HarpWeek.
Optional
Reading:
•Gary
L. Bunker. "Antebellum Caricature and Woman’s Sphere," Journal
of Women's History 3:3 (Winter 1992): 6-43.
•The
David Claypool Johnston Collection, American Antiquarian Society.
•Karen Halttunen, Confidence Men and Painted Women: A Study of
Middle-Class Culture in America, 1830-1870 (New Haven, 1982).
•David M. Henkin, City Reading: Written Words and Public Spaces
in Antebellum New York (New York, 1998).
•Elizabeth Johns, American Genre Painting: The Politics of Everyday
Life (New Haven, 1991).
•Rachel N. Klein, "Art
and Authority in Antebellum New York City: The Rise and Fall of the American
Art-Union," Journal of American History 81 (March 1995):
1534-61.
•Bernard F. Reilly, Jr., "Comic
Drawing in New York in the 1850s," in Prints and Printmakers of
New York State, 1825-1940, ed., David Tatham (Syracuse, 1986): 147-62.
•Martha A. Sandweiss, Rick Stewart, and Ben W. Huseman, Eyewitness
to War: Prints and Daguerreotypes of the Mexican War, 1846-48 (Washington,
D.C., 1989).
•Joshua
C. Taylor, America as Art (Washington, D.C., 1976).
|
|
| 4. |
September
18 |
NO
CLASS [Discussion
Board activity]
•"Revolution
in Print: Graphics in Nineteenth Century America," special issue of
Common-place:
The Interactive Journal of Early American Life 7:3 (April 2007).
•Michael
L. Wilson, "Visual Culture: A Useful Category of Historical Analysis?"
in The Nineteenth-Century Visual Culture Reader, ed. Vanessa R.
Schwartz and Jeannene M. Przyblyski (New York, 2004): 26-33.
|
|
| 5. |
September
25 |
ANTEBELLUM SOCIETY AND PHOTOGRAPHY [Discussion leader: Shirley]
•Alan
Trachtenberg, Reading American Photographs, Prologue, Chapter 1.
•David P. Jaffee, "One of the Primitive Sort: Portrait Makers
of the Rural North, 1760-1860" in The Countryside in the Age of Capitalist Transformation:
Essays in the Social History of Rural America, ed., Steven Hahn and Jonathan Prude
(Chapel Hill, 1985), 103-40.
•[ADDITIONAL ARTICLES/WEBSITES]
Optional Reading:
•Michael
L. Carlebach, The Origins of Photojournalism in America (Washington,
D.C., 1992).
•Mary Panzer, Mathew Brady and the Image of History (Washington,
D.C., 1997).
|
|
| 6. |
October
2
|
SLAVERY/ANTISLAVERY [Discussion leader: Rachel]
•Marcus
Wood, Blind Memory.
•Phillip Lapansky, "Graphic Discord: Abolitionist and Antiabolitionist
Images," in The Abolitionist Sisterhood: Women’s Political Culture in Antebellum
America, ed. Jean Fagan Yellin and John C. Van Horne (Ithaca, 1994), 201-30.
•Bernard F. Reilly, Jr., "The Art of the Antislavery Movement,"
in Courage and Conscience: Black and White Abolitionists in Boston, ed. Donald M.
Jacobs (Bloomington, 1993), 47-73.
Optional Reading:
•Albert
Boime, The Art of Exclusion: Representing Blacks in the Nineteenth Century
(Washington, D.C., 1990).
•Sarah Burns, Painting the Dark Side: Art and the Gothic Imagination
in Nineteenth-Century America (Berkeley, 2004).
•Gregory Fried, "True
Pictures," Common-place, 2:2 (January 2002).
•Nell Irvin Painter, "Representing
Truth: Sojourner Truth's Knowing and Becoming Known," Journal
of American History 81:2 (September 1994): 461-492.
•Richard J. Powell, "Cinqué: Antislavery Portraiture and
Patronage in Jacksonian America," American Art 11:3 (Fall
1997): 48-73.
•John Stauffer, The Black Hearts of Men: Radical Abolitionists
and the Transformation of Race (Cambridge, 2002), Chapter 2.
•John Michael Vlach. The Planter's Prospect: Privilege and Slavery
in Plantation Paintings (Chapel Hill, 2002).
•Colin L. Westerbeck, "Frederick Douglass Chooses His Moment,"
in African Americans in Art: Selections from the Art Institute of Chicago,
ed. Susan F. Rosen (Chicago, 1999), 9-25.
|
|
| 7. |
October
9
*PAPER
TOPIC DUE |
CIVIL
WAR [Discussion leader: Laura]
•William
Frassanito, Gettysburg.
•W. Fletcher
Thompson, The Image of War.
•Alan
Trachtenberg, Reading American Photographs, Chapter 2.
Optional
Reading:
•Gary
L. Bunker, From Rail-splitter to Icon: Lincoln's Image in Illustrated
Periodicals, 1860-1865 (Kent, 2001).
•William P. Campbell, The Civil War: A Centennial Exhibition of
Eyewitess Drawings (Washington, D.C., 1961).
•Michael L. Carlebach, The Origins of Photojournalism in America
(Washington, D.C., 1992).
•Alice Fahs, The Imagined Civil War: Popular Literature of the
North and South, 1861-1865 (Chapel Hill, 2001).
•Linda Frost, Never One Nation: Freaks, Savages, and Whiteness
in U.S. Popular Culture, 1850-1877 (Minneapolis, 2005).
•Jan Zita Grover, "The First Living-Room War: The Civil War in
the Illustrated Press," Afterimage (February 1984): 8-11.
•Harold Holzer, Gabor S. Borritt, and Mark E. Neely, Jr., The
Lincoln Image: Abraham
Lincoln and the Popular Print (New York, 1984).
•J. G. Lewin and P. J. Huff, Lines of Contention: Political Cartoons
of the Civil War (2007).
•Shirley Samuels, Facing America: Iconography and the Civil War
(New York, 2006).
|
|
| 8. |
October
16 |
RECONSTRUCTION [Discussion leader: Scott]
•Kirk
Savage, Standing Soldiers, Kneeling Slaves.
Optional Reading:
•Albert
Boime, The Art of Exclusion: Representing Blacks in the Nineteenth Century
(Washington, D.C., 1990).
•Michael D. Harris, Colored Pictures: Race and Visual Representation
(Chapel Hill, 2003).
•Harold Holzer, Gabor S. Borritt, and Mark E. Neely, Jr., The
Confederate Image: Prints of the Lost Cause (Chapel Hill, 1987).
•Cynthia Mills and Pamela H. Simpson, eds., Monuments to the Lost
Cause: Women, Art, and the Landscapes of Southern Memory (Knoxville, 2003).
•Peter Wood and Karen C. C. Dalton, Winslow Homer's Images of
Blacks: The Civil War and Reconstruction Years (Austin, 1988).
|
|
| 9. |
October
23 |
THE
GILDED AGE [Discussion leader: Caroline]
•Joshua
Brown, Beyond the Lines.
•Thomas Milton Kemnitz. "The
Cartoon as a Historical Source," Journal of Interdisciplinary
History 4:1 (Summer 1973): 81-93.
Optional
Reading:
•Joshua
Brown, “The
Days’ Doings: The Gilded Age in the Profane Pictorial Press."
•Michael Clapper, “‘I Was Once a Barefoot Boy!’:
Cultural Tensions in a Popular Chromo,” American Art 16:2
(Summer 2002): 17-39.
•Roger A. Fischer, Them Damned Pictures: Explorations in American
Political Cartoon Art (North Haven, 1996).
•Amanda Frisken, Victoria Woodhull's Sexual Revolution: Political
Theater and the Popular Press in Nineteenth-Century America (Philadelphia,
2004).
•Jay T. Last, The Color Explosion: Nineteenth Century American
Lithography (Santa Ana, 2005).
•Bryan F. Le Beau. Currier & Ives: America Imagined
(Washington, D.C., 2001).
•Thomas C. Leonard, The Power of the Press: The Birth of American
Political Reporting (New York, 1986), Chapter 4.
•Peter C. Marzio, The Democratic Art: Pictures for a 19th-Century
America (London, 1980).
•Sue Rainey, Creating Picturesque America: Monument
to the Natural and Cultural Landscape (Nashville, 1994).
•Richard Samuel West, Satire on Stone: The Political Cartoons
of Joseph Keppler (Urbana,
1988).
|
|
| 10. |
October
30 |
THE WEST [Discussion leader: Regina]
•Martha
A. Sandweiss, Print the Legend.
•William Cronon, "Telling Tales on Canvas: Landscapes of Frontier
Change," in Discovered Lands, Invented Pasts, ed., Jules Prown, Nancy Anderson,
William Cronon, Brian Dippie (New Haven, 1992), 37-87.
Optional Reading:
•Sarah
Burns, Pastoral Inventions: Rural Life in Nineteenth-Century American
Art and Culture (Philadelphia, 1989).
•Michael L. Carlebach, The Origins of Photojournalism in America
(Washington, D.C., 1992).
•Philip P. Choy, Lorraine Dong, and Marlon K. Hom, eds., The Coming
Man: 19th Century American Perceptions of the Chinese (Seattle, 1994).
•Estelle Jussim. Frederic Remington, the Camera and the Old West
(Fort Worth, 1983).
•Robin Kelsey, Archive Style: Photographs and Illustrations for
U.S. Surveys, 1850-1890 (Berkeley, 2007).
•Anthony W. Lee, Picturing Chinatown: Art and Orientalism in San
Francisco (Berkeley, 2001).
•Rebecca Solnit, River of Shadows: Eadweard Muybridge and the
Technological Wild West (New York, 2003).
•Robert Taft, Artists and Illustrators of the Old West, 1850-1900
(New York, 1953).
•John Kuo Wei Tchen, Genthe's Photographs of San Francisco's Old
Chinatown (New York, 1984).
•Alan Trachtenberg, Reading American Photographs, Chapter
Three.
•__________, Shades of Hiawatha: Staging Indians, Making Americans,
1880-1930 (New York, 2004).
•Richard Samuel West, The San Francisco Wasp: An Illustrated
History (Easthampton, 2004).
|
|
| 11. |
November
6 |
IMPERIALISM [Discussion leader: Robert]
•Laura
Wexler, Tender Violence.
Optional
Reading:
•Martha
Banta, Barbaric Intercourse: Caricature and the Culture of Conduct,
1841-1936 (Chicago, 2002).
•Michele H. Bogart, Public Sculpture and the Civic Ideal in
New York City, 1890-1930 (Chicago, 1989).
•Elizabeth Ewen and Stuart Ewe, Typecasting: On the Arts and
Sciences of Human Inequality (New York, 2006).
•James Gilbert, "Fixing the Image: Photography at the World's
Columbian Exposition" in Grand Illusions: Chicago’s World’s
Fair of 1893 (Chicago, 1993), 99-140.
|
|
| 12. |
November
13 |
PROGRESSIVISM/TURN
OF THE CENTURY [Discussion leader: Alexis]
•Rebecca
Zurier, Picturing the City.
•Neil Harris, "Iconography and Intellectual History: The Halftone
Effect," in Cultural Excursions: Marketing Appetites and Cultural
Tastes in Modern America (Chicago, 1990), 304-17.
•Alan Trachtenberg, Reading American Photographs, Chapter
4.
Optional Reading:
•Nicholson
Baker and Margaret Brentano, The World on Sunday: Graphic Art in Joseph
Pulitzer's Newspaper (1898-1911) (New York, 2005).
•Michael L. Carlebach, American Photojournalism Comes of Age
(Washington, D.C., 1997).
•Melissa Dabakis, Visualizing Labor in American Sculpture: Monuments,
Manliness, and the Work Ethic, 1880-1935 (Cambridge, 1999).
•Peter Bacon Hales, Silver Cities: The Photography of American
Urbanization, 1839-1915
(Philadelphia, 1984).
•Larry Peterson, "Photography and the Pullman Strike: Remolding
Perceptions of Labor
Conflict by New Visual Communication," in The Pullman Strike and
the Crisis of the 1890s: Essays on Labor and Politics, eds. Richard
Schneirov, Shelton Stromquist, and Nick Salvatore (Urbana, 1999): 87-129.
•Allan Sekula. "The
Body and the Archive," October 39 (Winter, 1986): 3-64.
•Maren Stange, Symbols of Ideal Life: Social Documentary Photography
in America, 1890-1950 (Cambridge, 1989).
•Rebecca Zurier, Robert W. Snyder, and Virginia M. Mecklenburg, Metropolitan
Lives: The Ashcan Artists and Their New York (New York, 1995).
|
|
| 13.
|
November
20 |
NO
CLASS
[Discussion
Board activity]
•Amy
Helene Kirschke, Art in Crisis.
|
|
| 14.
|
November
27 |
TWENTIES [Discussion leader: Jenifer]
•Elspeth
H. Brown, The Corporate Eye.
Optional Reading:
•Michele
H. Bogart, Advertising, Artists, and the Borders of Art (Chicago,
1995).
•Margaret Finnegan, Selling Suffrage: Consumer Culture and Votes
for Women (New York, 1999).
•Ian Gordon, Comic Strips and Consumer Culture, 1890-1945 (Washington,
D.C., 1998).
•Carolyn Kitch, The Girl on the Magazine Cover: The Origins of
Visual Stereotypes in American Mass Media (Chapel Hill, 2001).
•Roland Marchand, Advertising the American Dream: Making Way for
Modernity, 1920-1940 (Berkeley, 1986).
•Alice Sheppard, Cartooning for Suffrage (Albuquerque, 1993).
|
|
| 15. |
December
4 |
GREAT
DEPRESSION/NEW DEAL [Discussion leader: Brendan]
•Barbara
Melosh, Engendering Culture.
•Michael
Denning, "'Who’s Afraid of Big Bad Walt?' Disney’s Radical
Cartoonists," in The Cultural Front: The Laboring of American Culture
in the Twentieth Century (New York, 1996): 403-22.
Optional Reading:
•Alejandro
Anreus, Diana L. Linden, and Jonathan Weinberg, eds., The Social And
the Real: Political Art of the 1930s in the Western Hemisphere (University
Park, 2006).
•James Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered
(Philadelphia, 1989).
•Cara A. Finnegan, Picturing Poverty: Print Culture and FSA Photographs
(Washington, D.C., 2003).
•Carl Fleischhauer and Beverly W. Brannan, ed., Documenting America,
1935-1943 (Berkeley, 1988).
•Linda Gordon, "Dorothea
Lange: The Photographer as Agricultural Sociologist," Journal
of American History, 93:3 (December 2006): 698-727.
•Helen Langa, Radical Art: Printmaking and the Left in 1930s
New York (Berkeley, 2004).
•Esther Leslie, Hollywood Flatlands: Animation, Critical Theory,
and the Avant-Garde (New York, 2002).
•Tom Sito, Drawing the Line: The Untold Story of the Animation
Unions from Bosko to Bart Simpson (Lexington, 2007).
•Maren Stange, Symbols of Ideal Life: Social Documentary Photography
in America, 1890-1950 (Cambridge, 1989).
|
|
| 16. |
December
11 |
HOT
WAR/COLD WAR [Discussion leader: Matthew]
•David
M. Lubin, Shooting Kennedy.
Optional Reading:
•John
W. Dower, War Without Mercy: Race and Power in the Pacific War
(New York, 1986).
•James Gilbert, Cycle of Outrage: America's Reaction to the Juvenile
Delinquent in the 1950s (New York, 1986).
•David Greenberg, Nixon’s Shadow: A History of an Image
(New York, 2004).
•Gerard Jones, Men of Tomorrow: Geeks, Gangsters, and the Birth
of the Comic Book (New York, 2004).
•Amy Kiste Nyberg, Seal of Approval: The History of the Comics
Code (Jackson, 1998).
•Mary Panzer, Things As They Are: Photojournalism in Context since
1955 (New York, 2005).
•George H. Roeder, Jr., The Censored War: American Visual Experience
during World War Two (New Haven, 1993).
•Frederick S. Voss, Reporting the War: The Journalistic Coverage
of World War II (Washington, D.C., 1994).
|
|
| 17. |
December
18
*PAPER DUE |
EVALUATING APPROACHES
|
|
