| 1. |
January
27
|
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
the Visual in U.S. History,” Journal of American History
95:2 (September 2008): 432-41.
•Sally
M. Promey, “Situating
Visual Culture,” in A Companion to American Cultural History,
ed. Karen Halttunen (2008).
|
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2.
|
February
3
|
EARLY
REPUBLIC –
CARLA COLON
•Wendy
Bellion, Citizen Spectators: Art, Illusion, and Visual Perception in
Early National America.
Optional
Reading:
•Jonathan Crary, Techniques of the Observer: On Vision and Modernity
in the Nineteenth Century (Cambridge, 1992).
•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).
•Christopher J. Lukasik, Discerning Characters: The Culture of
Appearance in Early America (Philadelphia, 2011).
•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).
|
|
| 3.
|
February
10 |
NATIONALISM
– JULIANA
SON
•Vivien
Green Fryd, Art and Empire: The Politics of Ethnicity in the U.S.
Capitol, 1815-1860.
Optional
Reading:
•Martin
Brückner, The Geographic Revolution in Early America: Maps, Literacy,
and National Identity (Chapel Hill, 2006).
•Neil
Harris, The Artist in American Society: The Formative Years, 1790-1860
(New York, 1966).
•Elizabeth
Johns, American Genre Painting: The Politics of Everyday Life
(New Haven, 1991).
•Gregory
M. Pfitzer, Picturing the Past: Illustrated Histories and the American
Imagination, 1840-1900 (Washington, D.C., 2002).
•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).
•Alan
Trachtenberg, Reading American Photographs: Images as History: Mathew
Brady to Walker Evans (New York, 1989), Chapter 1.
•Kariann
Akemi Yokota, Unbecoming British: How Revolutionary America Became
a Postcolonial Nation (New York, 2011).
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|
| |
February
17 |
NO
CLASS
|
|
| 4. |
February
20
[Thursday following Monday Schedule] |
ANTISLAVERY
– EVE
EURE, JULIANA SON
•Maurice
O. Wallace and Shawn Michelle Smith, eds., Pictures and Progress:
Early Photography and the Making of African American Identity.
Optional
Reading:
•Jeannine
Marie DeLombard, Slavery on Trial: Law, Abolitionism, and Print Culture
(Chapel Hill, 2007).
•Marcy J. Dinius, The Camera and the Press: American Visual
and Print Culture in the Age of the Daguerreotype (Philadelphia,
2012).
•Amy E. Hughes, Spectacles of Reform: Theater and Activism in
Nineteenth-Century America (Ann Arbor, 2012).
•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.
•Kimberly
Orcutt, ed., John Rogers: American Stories (New York, 2011).
•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.
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|
| 5. |
February
24
|
SLAVERY
– EMILY
BROOKS, CARLA COLON
•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).
•Kay
Dian Kriz, Slavery, Sugar, and the Culture of Refinement: Picturing
the British West Indies, 1700-1840 (New Haven, 2008).
•Elise Lemire, “Miscegenation”: Making Race in America
(Philadelphia, 2002).
•Molly Rogers, Delia's Tears: Race, Science, and Photography
in Nineteenth-Century America (New Haven, 2010).
•Agnes Lugo-Ortiz and Angela Rosenthal, eds., Slave Portraiture
in the Atlantic World (New York, 2013).
•Marcus
Wood, Blind Memory: Visual Representations of Slavery in England and
America, 1780-1865 (New York, 2000).
•__________,
Black Milk: Imagining Slavery in the Visual Cultures of Brazil and
America (Oxford, 2013).
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|
| 6. |
March
3
|
CIVIL
WAR I –
EMILY BROOKS, DANIELLE WETMORE
•Megan
Kate Nelson, Ruin Nation: Destruction and the American Civil War.
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).
•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.
•Martha S. Jones, “Emancipation's Encounters: The Meaning
of Freedom from the Pages of Civil War Sketchbooks,” The Journal
of the Civil War Era 3:4 (December 2013): 533-48.
•Mark E. Neely, Jr. and Harold Holzer, The Union Image: Popular
Prints of the Civil War North (Chapel Hill, 2000).
•Jeff L. Rosenheim, Photography and the American Civil War
(New Haven, 2013).
•W.
Fletcher Thompson, The Image of War: The Pictorial Reporting of the
American Civil War (New York, 1959).
•Alan Trachtenberg, Reading American Photographs, Chapter
2.
•Peter
H. Wood, Near Andersonville: Winslow Homer’s Civil War
(Cambridge, 2010).
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|
| 7. |
March
10
*RESEARCH
PAPER TOPIC DUE |
CIVIL
WAR II: CASE STUDY
•Ross
Barrett, “On Forgetting: Thomas Nast, the Middle Class, and the
Visual Culture of the Draft Riots,” Prospects 29 (October
2005): 25-55.
•Iver Bernstein, The New York City Draft Riots: Their Significance
for American Society and Politics in the Age of the Civil War, 3-72.
•Joshua Brown, Beyond the Lines: Pictorial Reporting, Everyday
Life, and the Crisis of Gilded Age America, 7-58.
Optional
Reading:
•Edwin
G. Burrows and Mike Wallace, Gotham: A History of New York City to
1898 (New York, 2000), 864-905.
•Adrian Cook, The Armies of the Streets: The New York City Draft
Riots of 1863 (Lexington, 1974).
•Ronald Paulson, The Art of Riot in England and America
(Baltimore, 2010).
•Barnet Schecter, The Devil's Own Work: The Civil War Draft
Riots and the Fight to Reconstruct America (New York, 2007).
[ADDITIONAL
READINGS TO COME]
|
|
| 8. |
March
17 |
RECONSTRUCTION
– EVE
EURE, SARAH LITVIN
•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).
•Deborah
Willis and Barbara Krauthamer, Envisioning Emancipation: Black Americans
and the End of Slavery (Philadelphia, 2012).
•Peter
Wood and Karen C. C. Dalton, Winslow Homer's Images of Blacks: The
Civil War and Reconstruction Years (Austin, 1988).
|
|
| 9. |
March
24 |
GILDED
AGE –
ERIK WALLENBERG
•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).
•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).
•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.
•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).
•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.
|
|
| 10.
|
March
31 |
LATE-CENTURY
– DANIELLE WETMORE
•Fiona
Deans Halloran, Thomas Nast: The Father of Modern Political Cartoons.
Optional
Reading:
•Roger
A. Fischer, Them Damned Pictures: Explorations in American Political
Cartoon Art (North Haven, 1996).
•Ian Gordon, Comic Strips and Consumer Culture, 1890-1945
(Washington, D.C., 1998).
•Jennifer A. Greenhill, Playing It Straight: Art and Humor in
the Gilded Age (Berkeley, 2012).
•Thomas Milton Kemnitz. “The Cartoon as a Historical Source,”
Journal of Interdisciplinary History 4:1 (Summer 1973): 81-93.
•Thomas C. Leonard, The Power of the Press: The Birth of American
Political Reporting (New York, 1986), Chapter 4.
•Worth Robert Miller, Populist Cartoons: An Illustrated History
of the Third-Party Movement in the 1890s (Kirsksville, MO, 2011).
•Richard Samuel West, Satire on Stone: The Political Cartoons
of Joseph Keppler (Urbana, 1988).
•__________, The San Francisco Wasp: An Illustrated History
(Northampton: Periodyssey Press, 2004).
|
|
| 11. |
April
7 |
CITIES
[COMPARISONS] –
CODY CAMPBELL
•Vanessa
R. Schwartz, Spectacular Realities: Early Mass Culture in Fin-de-Siècle
Paris.
Optional
Reading:
•Michele
H. Bogart, Public Sculpture and the Civic Ideal in New York City, 1890-1930 (Chicago, 1989).
•Hollis Clayson, Paris in Despair: Art and Everyday Life under Siege (1870-71) (Chicago, 2002).
•Peter
Conolly-Smith, Translating America: An Immigrant Press Visualizes American
Popular Culture, 1895-1918 (Washington, DC, 2004).
•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.
•Nancy Rose Marshall, City of Gold and Mud: Painting Victorian
London (New Haven, 2012).
•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).
•__________, Robert W. Snyder, and Virginia M. Mecklenburg, Metropolitan
Lives: The Ashcan Artists and Their New York.
|
|
| |
April
14
April
21 |
NO
CLASS
NO
CLASS
|
|
| 12. |
April
28 |
WEST
– CODY
CAMPBELL, SARAH LITVIN
•Martha
A. Sandweiss, Print the Legend: Photography and the American West.
Optional
Reading:
•Sarah Burns, Pastoral Inventions: Rural Life in Nineteenth-Century
American Art and Culture (Philadelphia, 1989).
•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.
•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).
•Hayes
Peter Mauro, The Art of Americanization at the Carlisle Indian School
(Albuquerque, 2011).
|
|
| 13. |
May
5
|
EMPIRE
– ERIK
WALLENBERG
•David
Brody, Visualizing American Empire: Orientalism and Imperialism in
the Philippines.
Optional
Reading:
•David
Carlo, Advertising Empire: Race and Visual Culture in Imperial Germany
(Cambridge, 2011).
•Elizabeth
Ewen and Stuart Ewen, 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.
•Alison
Griffiths, Wondrous Difference: Cinema, Anthropology, and Turn-of-the-Century
Visual Culture (New York, 2002).
•Bonnie
M. Miller, From Liberation to Conquest: The Visual and Popular Cultures
of the Spanish-American War of 1898 (Amherst, 2011).
•Visualizing
Cultures (MIT, 2002–).
•Laura
Wexler, Tender Violence: Domestic Visions in an Age of U.S. Imperialism
(Chapel Hill, 2000).
•Mabel
O. Wilson, Negro Building: Black Americans in the World of Fairs and
Museums (Berkeley, 2012).
|
|
| 14. |
May
12
|
SYNTHESES?
NOTE: Half of the class will read one of the following books:
•Nicholas
Mirzoeff, The Right to Look: A Counterhistory of Visuality.
•Shelley Streeby, Radical Sensations: World Movements, Violence,
and Visual Culture.
|
|
| 15. |
May
19
|
*RESEARCH
PAPER DUE
|
