| 1. |
January
31
|
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.
[Copies
located in my mailbox in Rm. 5114]
•James
W. Cook,
"Seeing theVisual in U.S. History," Journal of American
History 95:2 (September 2008): 432-41.
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2.
|
February
7
|
PERCEPTION
(early republic) –
Yarisbel Rodriguez
•Wendy
Bellion, Citizen Spectators: Art, Illusion, and Visual Perception in
Early National America.
Optional
Reading:
•James
W. Cook, The Arts of Deception: Playing with Fraud in the Age of Barnum
(Cambridge, 2001).
•Jonathan Crary, Techniques of the Observer: On Vision and Modernity
in the Nineteenth Century (Cambridge, 1992).
•David Henkin, City Reading: Written Words and Public Spaces in
Antebellum New York (New York, 1998).
•David Jaffee, A Nation of Goods: The Material Culture of Early
America (Philadelphia, 2010).
•__________, "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.
•Margaretta M. Lovell, Art in a Season of Revolution: Painters,
Artisans, and Patrons in Early America (Philadelphia, 2005).
•Maurie
D. McInnis and Louis P. Nelson, eds., Shaping the Body Politic: Art
and Political Formation in Early America (Charlottesville, 2011).
•Laura
Rigal, The American Manufactory: Art, Labor, and the World of Things
in the Early Republic (Princeton, 2001).
•Alan
Trachtenberg, Reading American Photographs: Images as History: Mathew
Brady to Walker Evans (New York, 1989), Chapter 1.
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| 3.
|
February
14 |
WORK
OF ART (slavery/antislavery) –
Michael Granger
•Maurie
D. McInnis, Slaves Waiting for Sale: Abolitionist Art and the American
Slave Trade.
Optional
Reading:
•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, Slavery, Sugar, and the Culture of Refinement: Picturing
the British West Indies, 1700-1840 (New Haven, 2008).
•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.
•Richard
J. Powell, "Cinqué: Antislavery Portraiture and Patronage in
Jacksonian America," American Art 11:3 (Fall 1997): 48-73.
•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.
•Molly
Rogers, Delia’s Tears: Race, Science, and Photography in Nineteenth-Century
America (New Haven, 2010).
•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.
•Marcus
Wood, Blind Memory: Visual Representations of Slavery in England and
America, 1780-1865 (New York, 2000).
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| |
February
21 |
NO
CLASS
|
|
| 4. |
February
28 |
HISTORICAL
FIGURE (civil war) –
Laura Ping
•Harold
Holzer, Gabor S. Borritt, and Mark E. Neely, Jr., The Lincoln Image:
Abraham Lincoln and the Popular Print.
Optional
Reading:
•Gary
L. Bunker, From Rail-Splitter to Icon: Lincoln's Image in Illustrated
Periodicals, 1860-1865 (Kent, OH, 2001).
•Keith
F. Davis, "'A Terrible Distinctness': Photography of the Civil
War Era," in Photography in Nineteenth Century America, 1839-1900,
ed. Martha Sandweiss (New York, 1991).
•Alice
Fahs, The Imagined Civil War: Popular Literature of the North and South,
1861-1865 (Chapel Hill, 2001).
•William
Frassanito, Gettysburg: A Journey in Time (New York, 1975).
•R. Blakeslee
Gilpin, John Brown Still Lives! America's Long Reckoning with Violence,
Equality, and Change (Chapel Hill, 2011).
•Harold
Holzer, “Picturing Freedom: The Emancipation Proclamation in Art,
Iconography, and Memory,” in Harold Holzer, Edna Greene Medford, Frank
J. Williams, The Emancipation Proclamation: Three Views (Baton
Rouge, 2006), pp. 83-136.
•Anthony
W. Lee and Elizabeth Young, Alexander Gardner’s Photographic Sketch
Book of the Civil War (Berkeley, 2007).
•Nicholas
Mirzoeff, The Right to Look: A Counterhistory of Visuality (Durham,
2011).
•Alan
Trachtenberg, Reading American Photographs, Chapter 2.
•Peter
H. Wood, Near Andersonville: Winslow Homer’s Civil War (Cambridge,
2010).
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| 5. |
March
6
|
MEMORY
(reconstruction) –
Sarah Bane
•Kirk
Savage, Standing Soldiers, Kneeling Slaves: Race, War, and Monument
in Nineteenth-Century America.
Optional
Reading:
•Albert
Boime, The Art of Exclusion: Representing Blacks in the Nineteenth
Century (Washington, D.C., 1990).
•Steven Coon, “Narrative Trauma and Civil War History Painting,
or Why Are These Pictures So Terrible?,” History and Theory
41 (December 2002): 17-42.
•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).
•Mary
Niall Mitchell, Raising Freedom’s Child: Black Children and
Visions of the Future After Slavery (New York, 2008).
•Mark E. Neely. Jr, Harold Holzer, and Gabor S. Boritt, The
Confederate Image: Prints of the Lost Cause (New York, 1987).
•Nina Silber, The Romance of Reunion: Northerners and the South,
1876-1900 (Chapel Hill, 1993).
•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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| 6. |
March
13
*RESEARCH
PAPER TOPIC DUE |
PLACE
(industrialization) - Joel
Feingold
•Anthony
W. Lee, A Shoemaker's Story: Being Chiefly about French Canadian Immigrants,
Enterprising Photographers, Rascal Yankees, and Chinese Cobblers in a
Nineteenth-Century Factory Town.
Optional
Reading:
•Michael
Clapper, “‘I Was Once a Barefoot Boy!’: Cultural Tensions
in a Popular Chromo,” American Art 16:2 (Summer 2002):
17-39.
•Melissa Dabakis, Visualizing Labor in American Sculpture: Monuments,
Manliness, and the Work Ethic, 1880-1935 (Cambridge, 1999).
•James M. Dennis, The Strike: The Improbable Story of an Iconic
1886 Painting of Labor Protest (Madison, 2011).
•Kimberly Orcutt, ed., John Rogers: American Stories (New
York, 2011).
•Christopher Phelps, "The Strike Imagined: The Atlantic and
Interpretive Voyages of Robert Koehler's Painting The Strike,"
Journal of American History 98:3 (December 2011): 670-97.
•Kirk Savage, Monument Wars: Washington, D.C., the National
Mall, and the Transformation of the Memorial Landscape (Berkeley,
2009).
[ADDITIONAL
READINGS TO COME]
|
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| 7. |
March
20 |
PUBLICATION
(gilded age) –
Lawrence Cappello
•Joshua
Brown, Beyond the Lines: Pictorial Reporting, Everyday Life, and the
Crisis of Gilded Age America.
Optional
Reading:
•Michael
L. Carlebach, The Origins of Photojournalism in America (Washington,
D.C., 1992).
•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.
•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).
•Mark J. Noonan, Reading the Century Illustrated Month Magazine:
American Literature and Culture, 1870-1893 (Kent, 2010).
•Richard Samuel West, Satire on Stone: The Political Cartoons
of Joseph Keppler (Urbana, 1988).
|
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| 8. |
March
27 |
MEDIUM
(west/empire) –
Dicky Yangzom
•Martha
A. Sandweiss, Print the Legend: Photography and the American West.
Optional
Reading:
•David
Brody, Visualizing American Empire: Orientalism and Imperialism in
the Philippines (Chicago, 2010).
•George Catlin, Brian W. Dippie, George Gurney, George Catlin
and His Indian Gallery (New York, 2002).
•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.
•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.
•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).
•Hayes
Peter Mauro, The Art of Americanization at the Carlisle Indian School
(Albuquerque, 2011).
•Bonnie
M. Miller, From Liberation to Conquest: The Visual and Popular Cultures
of the Spanish-American War of 1898 (Amherst, 2011).
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| 9. |
April
3 |
INTERDISCIPLINARY/COLLABORATION
(turn of the century city) –
Gary Owen
•Rebecca
Zurier, Robert W. Snyder, and Virginia M. Mecklenburg, Metropolitan
Lives: The Ashcan Artists and Their New York.
Optional
Reading:
•Michele
H. Bogart, Public Sculpture and the Civic Ideal in New York City, 1890-1930
(Chicago, 1989).
•Peter
Conolly-Smith, Translating America: An Immigrant Press Visualizes American
Popular Culture, 1895-1918 (Washington, DC, 2004).
•Ellen Gruber
Garvey, The Adman in the Parlor: Magazines and the Gendering of Consumer
Culture, 1880s to 1910s (New York, 1996).
•Ian
Gordon, Comic Strips and Consumer Culture, 1890-1945 (Washington,
D.C., 1998).
•Peter
Bacon Hales, Silver Cities: The Photography of American Urbanization,
1839-1915 (Philadelphia, 1984).
•Neil
Harris, "Iconography and Intellectual History: The Halftone Effect,"
in Cultural Excursions: Marketing Appetites and Cultural Tastes in Modern
America (Chicago, 1990), 304-17.
•Anna
Pegler-Gordon, In Sight of America: Photography and the Development
of U.S. Immigration Policy (Berkeley, 2009).
•Maren
Stange, Symbols of Ideal Life: Social Documentary Photography in America,
1890-1950 (Cambridge, 1989).
•Bonnie
Yochelson and Daniel Czitrom, Rediscovering Jacob Riis: The Reformer,
His Journalism, and His Photographs (New York, 2008).
•Rebecca
Zurier, Picturing the City: Urban Vision and the Ashcan School
(Berkeley, 2006).
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|
| |
April
10 |
NO
CLASS
|
|
| 10.
|
April
17 |
BIOGRAPHY
(depression/new deal)
•Linda
Gordon, Dorothea Lange: A Life Beyond Limits.
Optional
Reading:
•Jasmine
Alinder, Moving Images: Photography and the Japanese American Incarceration
(Urbana, 2009).
•James Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered
(Philadelphia, 1989).
•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.
•Carl
Fleischhauer and Beverly W. Brannan, ed., Documenting America, 1935-1943
(Berkeley, 1988).
•Patricia
Hills, Painting Harlem Modern: The Art of Jacob Lawrence (Berkeley,
2010).
•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).
•Barbara
Melosh, Engendering Culture: Manhood and Womanhood in New Deal Public
Art and Theater (Washington, D.C., 1991).
•Richard
Steven Street, Everyone Had Cameras: Photography and Farmworkers in
California, 1850-2000 (Minneapolis, 2008).
|
|
| 11. |
April
24 |
OBJECT/ARTIFACT
– Hadassah
Hill
•Alan
Krell, The Devil’s Rope: A Cultural History of Barbed Wire.
•Kathy Peiss, Zoot Suit: The Enigmatic Career of an Extreme Style.
Optional
Reading:
•Kenneth
L. Ames, Death in the Dining Room and Other Tales of Victorian Culture
(Philadelphia, 1992).
[ADDITIONAL
READINGS TO COME]
|
|
| 12. |
May
1 |
DESIGN
– Anthony
Decosta
•Lynn
Spigel, TV by Design: Modern Art and the Rise of Network Television.
Optional
Reading:
•Michele
H. Bogart, Advertising, Artists, and the Borders of Art (Chicago,
1995).
•Roland
Marchand, Advertising the American Dream: Making Way for Modernity,
1920-1940 (Berkeley, 1986).
[ADDITIONAL
READINGS TO COME]
|
|
| 13. |
May
8
|
EVENT
– Katharine
Uva
•David
Friend, Watching the World Change: The Stories Behind the Images of
9/11.
Optional
Reading:
•Michael
Casey, Che’s Afterlife (New York, 2009).
•Hollis Clayson, Paris in Despair: Art and Everyday Life under
Siege (1870-71) (Chicago, 2002).
•Stephen
Eisenman, The Abu Ghraib Effect (New York, 2007).
•Robert
Hariman and John Louis Lucaites, No Caption Needed: Iconic Photographs,
Public Culture, and Liberal Democracy (Chicago, 2007).
•Jytte
Klausen, The Cartoons That Shook the World (New Haven, 2009).
•Susie
Linfield, The Cruel Radiance: Photography and Political Violence
(Chicago, 2010).
•Louis
P. Masur, The Soiling of Old Glory: The Story of a Photograph That
Shocked America (New York, 2008).
•Errol
Morris, Believing Is Seeing (Observations on the Mysteries of Photography)
(New York, 2011).
•Marcus
Wood, The Horrible Gift of Freedom: Atlantic Slavery and the Representation
of Emancipation (Athens, 2010).
•Barbie
Zelizer, About to Die: How News Images Move the Public (New York,
2010).
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| 14. |
May
15
|
EVALUATING
APPROACHES (civil rights movement)
*NOTE:
Each student will be assigned to read two of the following books for this
class:
•Elizabeth
Abel, Signs of the Times: The Visual Politics of Jim Crow (Berkeley,
2010).
•Martin A. Berger, Seeing Through Race: A Reinterpretation of
Civil Rights Photography (Berkeley 2011).
•Maurice Berger, For All the World to See: Visual Culture and
the Struggle for Civil Rights (New Haven, 2010).
•Lee Raiford, Imprisoned in a Luminous Glare: Photography and
the African American Freedom Struggle (Chapel Hill, 2011).
|
|
| |
May
22
|
*RESEARCH
PAPER DUE
|
|
