| 1.
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August
31
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INTRODUCTION
•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.
•James
W. Cook,
"Seeing theVisual in U.S. History," Journal of American
History 95:2 (September 2008): 432-41.
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September
7
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NO
CLASS
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| 2.
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September
14 |
COLONIAL
AMERICA [Kathleen Brennan]
•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:
•Kenneth
Baker, George III: A Life in Caricature (London, 2007).
•Barbara Lacey, From Sacred to Secular: Visual Images in Early
American Publications (Newark, Del., 2007).
•Donald C. O’Brien, Amos Doolittle: Engraver of the New
Republic (New Castle, Del., 2008).
•Kim Sloan, A New World: England’s First View of America
(Chapel Hill, 2007).
•Beth Fowkes Tobin, Picturing Imperial Power: Colonial Subjects
in Eighteenth-Century British Painting (Durham, 1999).
•Alfred F. Young and Terry J. Fife, with Mary E. Janzen, We The
People: Voices and Images of the New Nation (Philadelphia, 1993).
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| 3. |
September
21 |
ANTEBELLUM
AMERICA 1 [Paula Austin / Sean Griffin]
•Karen
Halttunen, Confidence Men and Painted Women.
Optional
Reading:
•Gary
L. Bunker. "Antebellum Caricature and Woman’s Sphere," Journal
of Women's History 3:3 (Winter 1992): 6-43.
•Michael Clapper, "Imagining the Ordinary: John Rogers's Anticlassical
Genre Sculptures as Purposely Popular Art," Winterthur Portfolio
43:1 (1 March 2009): 1-39.
•Patricia Cline Cohen, Timothy J. Gilfoyle, and Helen Lefkowitz Horowitz,
eds., The Flash Press: Sporting Male Weeklies in 1840s New York
(Chicago, 2008).
•The
David Claypool Johnston Collection, American Antiquarian Society.
•David M. Henkin, City Reading: Written Words and Public Spaces
in Antebellum New York (New York, 1998).
•Helen Lefkowitz Horowitz, “Another ‘American Cruikshank’
Found: John H. Manning and the New York Sporting Weeklies,” Proceedings
of the American Antiquarian Society, 112, Part I (2004): 93-126.
•Elizabeth Johns, American Genre Painting: The Politics of Everyday
Life (New Haven, 1991).
•John F. Kasson, Rudeness and Civility: Manners in Nineteenth
Century Urban America (New York, 1990).
•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.
•Isabelle Lehuu, Carnival on the Page: Popular Print Media in
Antebellum America (Chapel Hill, 2000).
•Bernard F. Reilly, Jr.,
American Political Prints, 1776-1876: Catalog of the Collection of the Library
of Congress.
•__________, "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.
•Wendy Wick Reaves, "Portraits for Every Parlor: Albert Newsam
and American Portrait Lithography," in American Portrait Prints:
Proceedings of the Tenth Annual American Print Conference, ed. Wendy
Wick Reaves (Charlottesville, 1984): 83-134.
•Constance Rourke, American Humor: A Study of the National Character
(New York, 1931).
•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).
•"Revolution
in Print: Graphics in Nineteenth Century America," special issue
of Common-place: The Interactive Journal of Early American Life
7:3 (April 2007).
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| 4. |
September
29 [TUESDAY] |
ANTEBELLUM
AMERICA 2 [Andriana Campbell]
•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).
•Miles Orvell, American Photography (New York, 2003).
•Mary Panzer, Mathew Brady and the Image of History (Washington,
D.C., 1997).
•Martha Sandweiss, ed., Photography in Nineteenth Century America,
1839-1900 (Ft. Worth, 1991).
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| 5. |
October
5
|
SLAVERY/ANTISLAVERY
[Christina Brungardt]
•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).
•Kay Dian Kriz, Slave, Sugar, and the Culture of Refinement: Picturing
the British West Indies, 1700-1840 (New Haven, 2008).
•Jo-Ann Morgan, Uncle Tom’s Cabin as Visual Culture
(Columbia, Mo., 2007).
•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.
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| 6. |
October
14 [WEDNESDAY]
*RESEARCH
PAPER TOPIC DUE |
CIVIL
WAR [Rachel Chatalbash]
•William
Frassanito, Gettysburg.
•Anthony W. Lee and Elizabeth Young, Alexander Gardner’s
Photographic Sketch Book of the Civil War.
•Alan Trachtenberg, Reading American Photographs, Chapter
2.
•Jan Zita Grover, "The First Living-Room War: The Civil War
in the Illustrated Press," Afterimage (February 1984): 8-11.
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).
•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).
•David
Park, "Picturing the War: Visual Genres in Civil War News,"
Communication Review 3:4 (2001): 287-321.
•Shirley Samuels, Facing America: Iconography and the Civil
War (New York, 2006).
•W. Fletcher Thompson, The Image of War: The Pictorial Reporting
of the American Civil War (New York, 1959).
|
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| 7. |
October
19 |
RECONSTRUCTION
[Emily Pecora / Sara Weintraub]
•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).
|
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| 8. |
October
26 |
THE
GILDED AGE [Michelle Chen]
•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).
•__________, “Obscenity, Free Speech, and ‘Sporting
News’ in 1870s America,” Journal of American Studies
42 (2008): 537-77.
•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.
•Michele Martin, Images at War: Illustrated Periodicals and
Constructed Nations (Toronto, 2006).
•Peter C. Marzio, The Democratic Art: Pictures for a 19th-Century
America (London, 1980).
•April F. Masten, Art Work: Women Artists and Democracy in Mid-Nineteenth
Century New York (Philadelphia, 2008).
•Sue Rainey, Creating Picturesque America: Monument
to the Natural and Cultural Landscape (Nashville, 1994).
•Guy Reel, The National Police Gazette and the Making of the
Modern American Man, 1879-1906 (New York, 2006).
•Richard Samuel West, Satire on Stone: The Political Cartoons
of Joseph Keppler (Urbana,
1988).
•Bonnie Yochelson and Daniel Czitrom, Rediscovering Jacob Riis:
The Reformer, His Journalism, and His Photographs (New York, 2008).
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| 9. |
November
2 |
THE
WEST [Brian Sholis / Melissa Dennihy]
•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).
•Joy S. Kasson, Buffalo Bill's Wild West: Celebrity, Memory, and
Popular History (New York, 2000).
•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).
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| 10. |
November
9 |
PROGRESSIVISM/TURN
OF THE CENTURY [Michael Juhre / Cara Caddoo]
•Rebecca
Zurier, Robert W. Snyder, and Virginia M. Mecklenburg, Metropolitan
Lives.
•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).
•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).
•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).
•Elizabeth Ewen and Stuart Ewen, Typecasting: On the Arts and
Sciences of Human Inequality (New York, 2006).
•Ellen Gruber Garvey, The Adman in the Parlor: Magazines and the
Gendering of Consumer Culture, 1880s to 1910s (New York, 1996).
•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.
•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.
•Robert W. Rydell, All the World's a Fair: Visions of Empire at
American International Expositions, 1876-1916 (Chicago, 1987).
•Allan Sekula. "The
Body and the Archive," October 39 (Winter, 1986): 3-64.
•Shawn Michelle Smith, Photography on the Color Line: W. E. B.
Du Bois, Race, and Visual Culture (Durham, 2004).
•Maren Stange, Symbols of Ideal Life: Social Documentary Photography
in America, 1890-1950 (Cambridge, 1989).
•James W. Tottis, ed., Life’s Pleasures: The Ashcan Artists’
Brush with Leisure, 1895-1925 (New York, 2007).
•Laura Wexler, Tender Violence: Domestic Visions in an Age of
U.S. Imperialism (Chapel Hill, 2000).
•Rebecca Zurier, Picturing the City: Urban Vision and the Ashcan
School (Berkeley, 2006).
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| 11.
|
November
16 |
INTERWAR
YEARS 1 [Einav Rabinovitch-Fox / Daniel London]
•Ian
Gordon, Comic Strips and Consumer 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:
•Michele
H. Bogart, Advertising, Artists, and the Borders of Art (Chicago,
1995).
•Elspeth H. Brown, The Corporate Eye: Photography and the Rationalization
of American Commercial Culture, 1884-1929 (Baltimore, 2005).
•Anne Elizabeth Carroll, Word, Image, and the New Negro: Representation
and Identity in the Harlem Renaissance (Bloomington, 2005).
•Margaret Finnegan, Selling Suffrage: Consumer Culture and Votes
for Women (New York, 1999).
•Amy Helene Kirschke, Art in Crisis: W. E. B. DuBois and the Struggle
for African American Identity and Memory (Bloomington, 2007).
•Carolyn Kitch, The Girl on the Magazine Cover: The Origins of
Visual Stereotypes in American Mass Media (Chapel Hill, 2001).
•Esther Leslie, Hollywood Flatlands: Animation, Critical Theory,
and the Avant-Garde (New York, 2002).
•Roland Marchand, Advertising the American Dream: Making Way for
Modernity, 1920-1940 (Berkeley, 1986).
•Alice Sheppard, Cartooning for Suffrage (Albuquerque, 1993).
•Tom Sito, Drawing the Line: The Untold Story of the Animation
Unions from Bosko to Bart Simpson (Lexington, 2007).
|
|
| 12. |
November
23 |
INTERWAR
YEARS 2 [Erin Wuebker]
•Cara
A. Finnegan, Picturing Poverty.
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).
•Dora Apel, Imagery of Lynching: Black Men, White Women, and the
Mob (Piscataway, 2004).
•James Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered
(Philadelphia, 1989).
•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).
•Barbara Melosh, Engendering Culture: Manhood and Womanhood in
New Deal Public Art and Theater (Washington, D.C., 1991).
•Maren Stange, Symbols of Ideal Life: Social Documentary Photography
in America, 1890-1950 (Cambridge, 1989).
•Richard Steven Street, Everyone Had Cameras: Photography and
Farmworkers in California, 1850-2000 (Minneapolis, 2008).
|
|
| 13. |
November
30 |
POSTWAR/HOT
WAR/COLD WAR [Kat Mahaney]
•David
Hajdu, The Ten-Cent Plague.
Optional
Reading:
•Jasmine
Alinder, Moving Images: Photography and the Japanese American Incarceration
(Urbana, 2009).
•George Black, The Good Neighbor: How the United States Wrote
the History of Central America and the Caribbean (New York, 1988).
•Paul Boyer, By the Bomb's Early Light: American Thought and Culture
at the Dawn of the Atomic Age (New York, 1986).
•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).
•Louis P. Masur, The Soiling of Old Glory: The Story of a Photograph
That Shocked America (New York, 2008).
•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).
•David Park, "The Kefauver Comic Book Hearings as Show Trial:
Decency, Authority and the Dominated Expert," Cultural Studies
16:2 (2002): 259-88.
•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).
|
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| 14. |
December
7
|
EVALUATING
APPROACHES
•Anthony
W. Lee, A Shoemaker’s Story.
Optional
Reading:
•Hollis
Clayson, Paris in Despair: Art and Everyday Life under Siege (1870-71)
(Chicago, 2002).
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| |
December
14
|
READING DAY
|
|
| |
December
21
|
*RESEARCH
PAPER DUE
|
|
