For survey courses in American art that span ancient Indian cultures to the present.   American Encounters is a long-awaited dynamic new narrative of the history of American art that focuses on historical encounters among diverse cultures, upon broad structural transformations such as the rise of the middle classes and the emergence of consumer and mass culture, and on the fluid exchanges between “high” art and vernacular expression.   The text emphasizes the intersections among cultures and populations, as well as the influences, borrowings, and appropriations that have enriched and vitalized our collective cultural heritage.   There was a readily perceived need for an up-to-date survey of American art that addressed the thematic, cultural, and historical concerns of the field in the 21st century. American Encounters offers a new narrative of American art organized around the theme of cross-cultural exchanges. It locates America at the cross-roads of cultural encounters between Asia, Africa, Europe, and the New World, for over five centuries. The authors do not treat traditions separately, rather they explore how peoples and cultures encounter and influence each other and then evolve based on an exchange of ideas, materials etc.

Table of Contents:
Part 1: From Ancient Times to the Late Colonial Era Chapter 1: The Art of Indigenous Americans before 1500 c.e.  The Art of the Eastern Woodlands  Framing the Discourse: New World Origins Framing the Discourse: Names and Native Americans The Art of Archaic and Woodland Cultures Poverty Point Hopewell Culture Mississippian Culture  Myths and Legends: Nineteenth-Century Myths of the Moundbuilders Moundville Spiro     Cahokia   Arctic Alaska  Old Bering Sea Culture  Ipiutak Stage  Ancient Art of the Southwest  From Basketmakers to Potters and Architects Anasazi or Ancestral Pueblo  Chaco Canyon Mimbres Painted Pottery Art and Culture Change in the Proto-historic Period: Hopi, Zuni, and Acoma Conclusion    Chapter 2: The Old World and the New: First Phases of Encounter, 1492 European Images of the New World: The First Century  The Earliest Images Columbus Landing in the Indies  Paradise and Hell  The “Noble Savage”   A Beckoning Princess  Fast Forward: The Long History of the Feathered Headdress The Empirical Eye of Commerce John White  De Bry’s Great Voyages  New World Maps  Ceremonies of Possession The Spanish Requirimiento The French and the Timucua  The English: Taking Possession of the Land Indigenous Eastern North America: Forging a Middle Ground New Materials and New Markets “Powhatan’s Mantle”  Horse Effigy Comb  War Club  Pipe Tomahawk  A Pair of Ceremonial Pouches A Painted Hide Wampum: A Contract in Shells  Fast Forward: The Repatriation of Wampum  “Fond of Finery”: Portraiture and Self-Display Hendrick and John: Eighteenth-century Gentlemen at the Boundaries of Cultures  Northern New Spain: Crossroads of Cultures  A “Bi-Ethnic” Society  The Matachines Dance  Pueblo and Mission in New Mexico Fast Forward: Santa Fe Fiesta–Reenacting the Conquest  Acoma   Adobe: Converging Traditions  The Mission and Convent of San Esteban at Acoma Pueblo  The Church of San Agustín at Isleta Pueblo  The Mission Church and Convent of San José at Laguna Pueblo  Pecos Pueblo and Mission: An Intercultural Zone  The Segesser Hides: A Pictorial Record of Spanish and Pueblo Bravery on the Great Plains in 1720  Conclusion     Chapter 3: Early Colonial Arts, 1632—1734  Designing Cities, Partitioning Land, Imaging Utopia Hispanic Patterns of Land Settlement in North America El Cerro de Chimayo  British Patterns of Land Settlement in North America  An engraved map of Savannah  New Haven Organic, Grid, Radial  Boston Myths and Legends: The Puritan Ideal  New York City Philadelphia  The Ordinance of 1785  The District of Columbia Seventeenth-Century Painting: Puritans in Kid Gloves Portraits The Freake Portraits The Mason Children Captain Thomas Smith’s Self-Portrait Hispanic Village Arts The Santero Tradition  Saint Joseph by Rafael Aragón Retablo Painting and the Santero Tradition  Retablo at San José, Laguna Pueblo Santero Painting  Fast Forward: The Virgin of Guadalupe: Transnational Icon Native Elements in Santero Painting Architecture and Memory The Spanish in the Southeast: Saint Augustine Castillo San Marcos, in Saint Augustine  Building in New England and Virginia  Hingham Meeting House, Hingham, Massachusetts   Saint Luke’s Church, Smithfield, Virginia   Houses Myths and Legends: Myth of the Log Cabin Bacon’s Castle, Surry County, Virginia Ward House, Salem, Massachusetts Fairbanks House, Dedham, Massachusetts  Methods and Techniques: Reading Architectural Plans  Style and Substance  Design, Material Culture, and the Decorative Arts  The Seventeenth-Century Interior  The Chair Methods and Techniques: Theories of architectural preservation The Court Cupboard      A Silver Sugarbox  Textiles      Embroidery A Native Basket  The Carver’s Art: Colonial New England Gravestones  “The Charlestown Stonecutter”     The Lamson Family Carvers   Representing Race: Black in Colonial America   The First Africans in America Colonoware  The Descent into Race-Based Slavery in America   Two African American Slave Sculptures Conclusion     Chapter 4: Late Colonial Encounters: The New World, Africa, Asia, and Europe, 1735—1797  The African Diaspora   Thomas Coram’s View of Mulberry (House and Street) The Shotgun House                     Framing the Discourse: Diaspora and Creolization  The African House Virginia: Eighteenth-Century Land Art   Oak Alley Plantation (Vacherie, Louisiana)   Mount Vernon     Methods and Techniques: The Classical Orders     Palladio and “Georgian” Building           Palladio’s Four Books                    Georgian Domestic Architecture   Mount Airy, in Virginia  Mount Pleasant, in Pennsylvania   Whitehall, in Rhode Island   Georgian Religious Architecture   The Quaker Meeting House The Touro Synagogue       Trinity Church  The “Colonial Church”  The Mission System in Texas, Arizona, and California Fast Forward: New England Meets Hawaii Texas Missions San José y San Miguel de Aguayo Arizona Missions: San Xavier del Bac  San Xavier del Bac California: The Mission Santa Barbara Mission Santa Barbara        The Crafted Object      Ben Franklin’s Porringer        Cultural Contexts: Colonial Money Paul Revere the Silversmith    Sons of Liberty Bowl         The Line of Beauty   The Combination of Aesthetic Languages in Decorative Objects  The Colonial Artisan  John Goddard, Master Cabinetmaker   The Cosmopolitan Wigwam   Artists Painting            Copley and West: Beacon Hill and the Academy   Copley’s Colonial Portraits  West’s History Paintings     Painting, Portraiture and Race  Justus Kühn’s Henry Darnall III as a Child  Sea Captains Carousing at Surinam, by John Greenwood   Watson and the Shark   Conclusion    Part 2: From Ancient Times to the Late Colonial Era  Chapter 5: Art, Revolution, and The New Nation, 1776—1828          The American Revolution in Print, Paint, and Action      Print Wars  The Deplorable State of America     The Bloody Massacre       “Playing Indian”     Reinterpreting the Revolution: John Trumbull  Cultural Contexts: Festivals and Parades    The Death of General Warren at the Battle of Bunker’s Hill, 17 June, 1775     Celebrating Franklin and Washington  Franklin as Experimentalist  The “Athenaeum Portrait”   Fast Forward: Washington as Zeus          The African American Enlightenment  Scipio Morehead’s portrait of Phyllis Wheatley          Liberty Displaying the Arts and Sciences by Samuel Jennings Joshua Johnston    Fast Forward: Two Versions of Education Classical America        Thomas Jefferson’s Western Prospect            Monticello The Virginia State Capitol    The University of Virginia   Capitols in Stones and Pigment           Charles Bulfinch, Architect The United States Capitol    A Portrait of the Capitol: Morse’s The House of Representatives         Cultural Contexts: The White House          Domestic Life         Gore Place, a Neoclassical Home     A Carved Mahogany Chair, attributed to Samuel McIntire       Cultural Contexts: The China Trade           Ladies’ Furnishings            Fast Forward: A Greek Revival Interior     Women’s Artistic Education            Painting in the New Nation       Portraiture and Commercial Life: Gilbert Stuart            The Skater            Painting and Citizenship: Charles Willson Peale The Staircase Group           The Artist in his Museum    Myth and Eroticism: John Vanderlyn   Ariadne Asleep on the Isle of Naxos Early Romanticism: Washington Allston          Elijah in the Desert            Moonlit Landscape (Moonlight)      Conclusion        Chapter 6: The Body Politic, 1828—1865   The Language of Emotion       Home and Family     Lilly Martin Spencer           “Sentimentalism in Nature” Sculpture     Harriet Hosmer     Edmonia Lewis      Hiram Powers       Gothic America       Lyndhurst Architect, by Alexander Jackson Davis      Moss Cottage, Oakland, California   Gothic Revival Furnishings The American Woman’s Home         Egyptian Revival       The Washington Monument     A Silver Sauceboat Art of the People   Quilts and Women’s Culture, 1800—1860  Baltimore Album Quilts    Friendship Quilts    Raising Funds and Social Awareness           Folk and Vernacular Traditions         Rural Painters        Silhouettes            “Just for Pretty”    187 Fraktur     187 Native Imagery in Vernacular Art     Shaker Art and Innovation     Shaker Box           Shaker Furniture    Shaker Spiritual Visions      The Cultural Work of Genre Painting     Culture vs. Commerce: Allston, Morse, Mount The Poor Author and the Rich Bookseller     The Gallery of the Louvre   The Painter’s Triumph: A Reply to Morse     Woodville: the Pleasures and Perils of the Public Sphere         War News from Mexico       Politics in an Oyster House Street Scenes           John Carlin   Young Husband: First Marketing, by Lilly Martin Spencer     Framing the Discourse: Hannah Stiles and the “Trade and Commerce Quilt”  Mount: Abolitionism and Racial “Balance”      Farmers Nooning   Eel Spearing at Setauket     Antebellum Anti-Sentimentalist: Blythe Slaves and Immigrants          John Quidor          Minstrel Shows     Conclusion: Domesticity and the West     Chapter 7: Native and European Arts at the Boundaries of Culture: The Frontier West and Pacific Northwest, 1820s—1850s  Plains Cultures of the West: From Both Sides  The Myth of the Frontier      Setting Differences Aside on the New Frontier Native Plains Culture in the 1820s and 1830s   The Vision Quest   Picturing Prowess    Chief Máh-to-tóh-pa as Portrayed by George Catlin   Máh-to-tóh-pa’s Depictions of his Own Heroic Exploits         “Authentic” Indians            Plains Women’s Artistry in Quills and Beads    Quillwork  A Northern Plains Dress    Trade Beads          George Catlin’s Indian Gallery            William Fiske’s Portrait of Catlin     Documenting “A Dying Race”         Fast Forward: The Indian as Spectacle      Living Traditions and Icons of Defeat    The “Vanishing” American Indian       The “Good” Indian The “Bad” Indian   George Bingham and the Domestication of the West    Daniel Boone Escorting Settlers Through the Cumberland Gap           Bingham’s Aesthetic           Fur Traders Descending the Missouri           Framing the Discourse: Institutional Contexts: The American Art-Union        The Bawdy West   Native Arts of Alaska   Tlingit Art: Wealth and Patronage on the Northwest Coast         The Whale House of the Raven Clan            Raven and the Sun Methods and Techniques: Formlines and Ovoids: The Building Blocks of Northwest Coast Design       Trade Goods         The Concept of at.óow       Aleut, Yupik, and Inupiaq Arts: Hunters and Needleworkers      Fast Forward: Tlingit Art, Ownership, and Meaning Across the Generations  A Waterproof Parka of Seal Intestine           A Hunting Visor     Bending Wood and Bone     Fast Forward: Intercultural Arts in Nome, Alaska, circa 1900         Conclusion        Chapter 8: Why Paint Landscapes?           Framing the Discourse: A Brief History of the Word “Landscape”    Picturesque Beginnings          Looking East from Denny Hill        View Near Fishkill Picturesque Parks    Mount Auburn       Framing the Discourse: Memorializing Death         Central Park         Picturesque Architecture: Andrew Jackson Downing    Rotch House         The Anti-Picturesque: Functionalism and “Yankee Ingenuity”    Mechanized Manufacture    Balloon Frame Construction            Interchangeable Parts         The Sublime: The Formation and Development of the Hudson River School of Painting       The Practice of Landscape Appreciation          Catskill Mountain-House    Niagara Falls        Politics By Other Means: Thomas Cole            Expulsion from the Garden of Eden The Course of Empire        Democratizing the Landscape: Asher B. Durand           Kindred Spirits      The New National Landscape: Frederic Edwin Church  The Influence of Claude Lorrain and the “Middle Landscape” Merging the Local with the National: New England    Geology and Church’s “Great Picture”: Heart of the Andes   Feminizing the Landscape: Luminism  John Kensett        Fitz Henry Lane     Sanford R. Gifford Representing War        Daguerreotypes and Early Photography           Photographic Documents of Slavery            Mathew Brady and his “Gallery of Illustrious Americans”       The Photographic Image and the Civil War      Images of the Fallen           War and Peace         Prisoners from the Front by Winslow Homer          Two Versions of the Home Front    Conclusion        Part 3: From Ancient Times to the Late Colonial Era   Chapter 9: Post-War Challenges: Reconstruction, the Centennial Years, and Beyond, 1865—1900    Representing “Race”: From Emancipation to Jim Crow    Thomas Nast: Racial Caricature and the Popular Press The Mixed Legacy of Emancipation: Monuments to Freedom    The Freedman       A Quilt by a Former Slaveowner      Saint-Gaudens’s Memorial to Robert Gould Shaw: Common and Uncommon Soldiers     The Post-War South: Richard Brooke and Winslow Homer       A Pastoral Visit      Dressing for the Carnival   The Gulf Stream    The Turtle Pound   Harriet Powers’s Bible Quilts: Popular Religion and Black Emancipation  Henry Ossawa Tanner           The Banjo Lesson  Facing Off: Divided Loyalties    Compositional and Thematic Polarity  The Morning Bell  The Persistence of the Past: The Colonial Revival   The Puritan  The Shingle Style  Quaint, Endearing, and Comforting  Popular Prints and the Emergence of Cultural Hierarchies   Chromolithography   Methods and Techniques: Print Techniques   The Post-War West: Expansion, Incorporation, and the Persistence of the Local, 1860—1900   Landscape Art, Photography, and Post-War National Identity   “Booster Artwork”: Yosemite and the Sierra Nevadas Cultural Contexts: Circulating the West  “Disinterested Knowledge”: Yellowstone and other Surveys of the West  New Mexico and Arizona Territories: Local Cultures and Expanding Markets  Pueblo Pottery and Carving Navajo Weaving and Worldview      The Art of the Penitente Brotherhood      The Clash of Cultures, From Both Sides Plains Ledger Drawings: Native Commemoration in an Era of Change  Sitting Bull’s Exploits as depicted by Four Horns   Prison Drawings from Fort Marion  Wohaw of Two Worlds      Black Hawk’s Vision of a Thunder Being      The Noble Indian and the “Vanishing Race,” Once Again          The End of the Trail          The Dawes Act     The Song of the Talking Wire          Myths and Legends: The Past as Spectacle: Buffalo Bill Cody’s “Wild West” The North American Indian by Edward Curtis           “Alaska Views”      Conclusion        Chapter 10: A New Internationalism: The Arts in an Expanding World, 1876—1900    The Cosmopolitan Spirit in American Art           Generational Divisions           The Artist and His Studio    Breaking Home Ties           Japonisme: The Meeting of East and West       Framing the Discourse: Race and Class: “Highbrow” and “Lowbrow”          American Impressionism       Childe Hassam: Aestheticizing the City          John Henry Twachtman: Beyond Impressionism       American Expatriates: At Home Abroad           John Singer Sargent           James Abbott McNeill Whistler        Methods and Techniques: The Fine Art Print          Mary Cassatt and Henry Ossawa Tanner      The Marketplace of Styles     The Crazy Quilt Mania and the Philadelphia Exposition          The New American Architecture           The Influence of the Ecole des Beaux Arts in Paris       Richard Morris Hunt          Origins of the Skyscraper   History and the Individual Talent: H. H. Richardson      Trinity Church, Boston       Architecture and the New Metropolis: Louis Sullivan    The Department Store        The Office Building            The Transportation Building            Reform and Innovation: Handcraft and Mechanization in the Decorative Arts, 1860—1910    Origins in Social Theory        Herter Brothers      Cultural Contexts: Inventions, Patents, and the (Non)Collapsible Chair          Women Designers and Artistic Collaboration    The Arts and Crafts Movement          Cultural Contexts: Hawaiian Quilts and Cross-Cultural Collaborations            California Baskets and the Arts and Crafts Movement            Tiffany, American Indian Basketry Design, and the 1900 Paris Exposition        Awakening the Senses: The Glasswork of Tiffany and Company and John La Farge        Conclusion        Chapter 11: Exploration and Retrenchment: The Arts in Unsettling Times, 1890—1900   Victorian into Modern: Exploring the Boundaries between Mind and World Framing the Discourse: Victorian  The Antimaterialist Impulse: Symbolism and Tonalism  George Inness       Willard Metcalf      Albert Pinkham Ryder        Trompe l’Oeil: “The Real Thing”?      Cultural Contexts: American Art and the New Perceptual Psychology    John Haberle   Late Homer, Early Modernism  Right and Left   Feminine/Masculine: Gender and Late-Nineteenth-Century Arts  Women Artists and Professionalization   A Woman’s Self-Portrait   Men Painting Women; Women Painting Themselves  Getting Together for Tea    The Life of Leisure    The Female Experience   The Artifice of Feminine Behavior   Thomas Eakins: Restoring the (Male) Self     Mechanization Sets the Terms      Life of the Mind, Life of the Body  Portrait of Frank Hamilton Cushing: Crossing Cultures  Reasserting Cultural Authority The Universal Language of Art   Monumental Architecture in the Age of American Empire  The Library of Congress  The Columbian Exposition in Chicago, 1893 Photography and Modernity      Jacob Riis: “Capturing” the Slum        How the Other Half Lives   The People Take the Pictures: Democratizing Photography with the Kodak         ‘Modernizing Vision’: Eadweard Muybridge and Instantaneous Photography       Conclusion        Part 4: From Ancient Times to the Late Colonial Era  Chapter 12: The Arts Confront the New Century: Renewal and Continuity, 1900—1920 Early-Twentieth-Century Urban Realism Framing the Discourse: Modernism/Modernity/Modernization  The Ashcan Artists   Robert Henri: “The Art Spirit”         George Bellows     John Sloan and the Act of Looking  Ethnic Caricature   Gender and the Ashcan Artists        Graphic Satire in The Masses The Social Documentary Vision: Lewis Hine    The Road to Abstraction       Cultural Nationalism/Aesthetic Modernism: Alfred Stieglitz       Fast Forward: Disney’s Fantasia: Middlebrow Modernism  Stieglitz as Gallery Owner   Stieglitz as Magazine Publisher        Stieglitz’s Equivalents        Stieglitz and His Circle           Cultural Contexts: The Lyrical Left            Organic Abstraction: Arthur Dove    Georgia O’Keeffe   Stieglitz and O’Keeffe: “Love in the Machine Age”     Fast Forward: Vision as Meditation   An Organic Expressionist: John Marin         Photography: From Pictorialism to “Straight”      Establishing Photography as a Fine Art            The Photo-Secession          “Pictorialist” Photography   The Beginnings of Photographic Modernism    The Steerage         Paul Strand           Fast Forward: Modernist Photography in the 1930s and the f.64 Group        Conclusion       Chapter 13: Transnational Exchanges: Modernism and Modernity Beyond Borders, 1913—1940 American Apprenticeship to European Modernism          Before the Armory Show     An American in Paris       The Armory Show    Duchamp’s Nude Descending a Staircase No. 2       American Modernity, From Both Sides   New York dada: A Transatlantic Collaboration Framing the Discourse: Winning the Public Over to Modernism      Emigré Influence   Gender Play          The Primitive and the Modern         Duchamp and the “Readymade”         Alexander Calder: Reinventing the Gadget       Expatriation and Internal Exile Between the Wars         Ironic Distance: Gerald Murphy and Josephine Baker Homosexual Exiles: Romaine Brooks, Marsden Hartley, and Charles Demuth   Comfortably at Home in the Not-at-Home: Stuart Davis          Sculpture: The Primitive and the Modern           Direct Carving: Modernist Primitivism in Sculpture       William Zorach      John Flannagan      A Stylized Modernism: European Emigrés and American Sources          Elie Nadelman        Gaston Lachaise    Alexander Archipenko        Architectural Encounters: Transnational Circuits The Early Career of Frank Lloyd Wright         American Architecture Abroad           “Silo Dreams”: American Industrial Architecture and European Modernism  The Modern American Industrial Factory     Conclusion        Chapter 14: The Arts and the City, 1913—1940       The Skyscraper in Architecture and the Arts       Designing for Modernity: The “Moderne” Style          Luxury Interiors    Glamorous Garments         Cubism in the American Grain            The View from the Top      Cubistic Camerawork         The Skyscraper City Imaginary Skyscrapers and Visionary Artists   Y.T.T.E.   Simon Rodia’s Watts Towers         The Urban/Industrial Image in 1910—30  From Fragmentation to Unity Max Weber          Joseph Stella         Precisionism: Modernist Classicism and the Aesthetics of Immobility     Charles Sheeler      “Tombstones of Capitalism”         The Commercial Landscape of the Everyday      “Modern Vernacular”   Stuart Davis     Photography and Advertising: Modernism Allied to Commerce   Steichen as Ad Artist         The Painter, the Poet, and the City: Charles Demuth’s Poster Portrait of William Carlos Williams  The City and Popular Media: Comics and Animation     Little Nemo           George Herriman’s Krazy Kat          A Comic Strip by a Modernist Artist         The Beginnings of Animation: “Felix the Cat”  The Human City: Spectacle, Memory, Desire      The City as Spectacle: Reginald Marsh          Quiet Absorption: Isabel Bishop’s Women      The Emergence of Urban Black Culture      Archibald Motley, Jr.          The Margins of the Modern: Edward Hopper and Charles Burchfield  Edward Hopper     Charles Burchfield  The Dream-life of Popular Culture      Joseph Cornell      Henry Darger        Conclusion        Chapter 15: Searching for Roots, 1918—1940  The Rediscovery of America     Forging Continuities with the Nineteenth-century Craft Tradition        Framing the Discourse: The Usable Past    Sheeler’s Barns     Folk Art Revival     The Dark Side of the “Folk”            The Regionalist Philosophy    “Commodification” of Folk and Native Art    The Politics of Artistic Regionalism    John Steuart Curry Thomas Hart Benton          Art Colonies and the Anti-modern Impulse       Romantic Regionalism in California and New Mexico    “Mission Revival” Style      “Pueblo Revival” or “Santa Fe” Style            The Biography of a Building            Norman Rockwell: Illustrator for the American People?            Preservation, Tradition, and Reinvention in the Twentieth Century           Potters, Painters and Patrons: The Market for Pueblo Arts        Pueblo Watercolors and Awa Tsireh            Maria Martinez and the Marketing of Pueblo Pottery  The Reinvention of Tradition: Twentieth-Century Santero Art    Festivals: Invented Traditions and Ancestral Memories     Fast Forward: The Late-Twentieth-Century Santero Revival  “Fiestas Patrias”       Hispanic Ethnic Festivals    “Days of the Dead”            Carnival       Mardi Gras “Tribes”           The “New Negro” Movement and Versions of a Black Art          The Black Artist and the Folk Sargent Johnson    William Johnson    Vernacular Black Artists of the Twentieth Century       Horace Pippin        William Edmondson           Bill Traylor            James Hampton     Fast Forward: Lonnie Holley: A Contemporary Vernacular Artist      Conclusion      515   Chapter 16: Social Visions: The Arts in the Depression Years, 1929—91     The Depression and the Narrative Impulse          Mexican Muralists and Their Influence on Public Art    Framing the Discourse: Taylorization and the Assembly Line “Speed-up”     Diego Rivera in Detroit   José Clemente Orozco at Dartmouth            Charles White     Social Realism        Ben Shahn Fast Forward: The Continuing Relevance of Mexican Art    Philip Evergood     Epics of Migration   Jacob Lawrence    Aaron Douglas    Dis-Articulating Identity: Isamu Noguchi     Anti-Fascism and the Democratic Front: Abstraction and Social Surrealism        Federal Patronage: Roosevelt’s Works Progress Administration (WPA)     A Fresco for a Garment Workers’ Community          A Native American Muralist at the Department of the Interior A Typical Post Office Mural           A New Deal for Indians         The Renovation of Chief Shakes’s House     Archaism in Public Sculpture The Varieties of Photographic Documentary     The “File”: The Farm Security Administration and “the Camera with a Purpose”  Dorothea Lange     Margaret Bourke-White and Walker Evans: Documentary Extremes       You Have Seen Their Faces            Let Us Now Praise Famous Men      Design and Architecture in the 1930s: Corporate Patronage and Individual Genius   Mass-Marketing the Modern: Industrial Design            The Streamlined Style       The Machine Art Show at the Modern           Lewis Hine’s Men at Work  Corporate Utopias: The World’s Fairs of the 1930s      Frank Lloyd Wright in the 1930s        Fallingwater          Conclusion        Chapter 17: Cold War and the Age of the Atom, 1945—1960: Consensus and Anxiety in the Arts        The Crisis of the Subject: From Narrative to Myth and Symbol in the 1940s         “Magic Realism”       Andrew Wyeth      Henry Koerner       “Modern Man” and “Primitive” Ritual  Arshile Gorky: Abstraction and Memory       The Origins of Abstract Expressionism           Early Jackson Pollock       Pollock’s Drip Paintings    Methods and Techniques: Jackson Pollock and Navajo Sand Painting            The Abstract Expressionist Movement           Color Field Painting           The Abstract Expressionist Sculptor: David Smith     Cultural Contexts: Abstract Art and American Quilts           Framing the Discourse: Abstract Expressionism and the Rhetoric of Nature   The “Triumph” of Abstract Expressionism and Beyond    The Contradictions of Success           Helen Frankenthaler and the “Soak-Stain” Method       Pacific Rim Influences          Mark Tobey          All-Over Composition and the Break from Hierarchy  Image Culture, Gender Crisis, and Identity in the 1950s            “The Girl Back Home”        Willem de Kooning’s Woman           George Tooker’s Waiting Room      Beyond Abstract Expressionism         Jasper Johns         Robert Rauschenberg        Photography: From Photojournalism to the Eccentric Eye          Photojournalism        Robert Capa          Eugene Smith        The Family of Man            New York Photographers      Diane Arbus         Post-war Design and the Domestication of Modernism    Museums and the Marketing of “Good Design”            Cultural Contexts: Communities of Taste   Charles and Ray Eames         Machines to Bodies: Biomorphic Design          The International Style: Architecture as Icon    Mies van der Rohe and the Corporate Building           Organic Design: Architecture as Sculpture       Frank Lloyd Wright’s Guggenheim Museum Eero Saarinen’s TWA Terminal       Conclusion        Part 5: From Ancient Times to the Late Colonial Era          Chapter 18: Art into Life: 1960—1980        The Space and Objects of Everyday Life: Performance, Pop, and Minimalism        Performance            Happenings         Fluxus      Pop Art, Consumerism, and Media Culture      The Store and The Factory  The Commercial Unconscious         Warhol’s Disaster Series     War and Consumption: F-111         Minimalism  Precursors of Minimalism in Painting         Donald Judd and Carl Andre            Critical Debates about Minimalism   Framing the Discourse: The Politics of Assemblage            Sol LeWitt and Dan Flavin: the Role of the Viewer     The Figure in Crisis    Bodily Dispersions: Postminimalism, Dance, and Video Eva Hesse and Postminimalism        Yvonne Rainer and a New Choreography      Video and the new-media body        The Subject and the System: Conceptual Art and Body Art        Defining Conceptual Art     Contractual Procedures      Information and its Failures The Artist’s Body: Eleanor Antin and Chris Burden    Figures of Resistance          T. C. Cannon and Betye Saar: Reanimated Stereotypes           Murals, on and off the wall American Spaces Revisited       Challenging the Museum        Hans Haacke and Vito Acconci        Mierle Laderman Ukeles      The Mediated Landscape       Robert Smithson    Christo and Jeanne-Claude  Ana Mendieta        Broken Homes          Womanhouse         Gordon Matta-Clark           Framing the Discourse: Art and Feminism in the 1970s     Conclusion        Chapter 19: American Art in Flux, 1980—present    “The Death of the Artist” in Postmodernism    Film Stills by Cindy Sherman         Sherrie Levine’s Rephotographs      Framing the Discourse: 1970s Feminism vs 1980s Feminism          Postmodern Theories of Reference  Postmodern Pastiche in Architecture            Art and Language     Jenny Holzer         Guerrilla Girls        Glenn Ligon         Consumption, Critique, and Complicity       Haim Steinbach    Jeff Koons            David Hammons    Krzysztof Wodiczko           Jaune Quick-To-See Smith The Culture Wars     Andres Serrano’s Piss Christ           Controversies over Public Funding   The AIDS Crisis    The New Arts of Memory           Monuments and Memorials Redefined Vietnam Veterans’ Memorial           Memory and the Museum      James Luna         Fred Wilson          Craft Anachronism   Samplers by Elaine Reichek Clay Figures by Roxanne Swentzell  Silhouettes by Kara Walker Contemporary American Art and Globalization   Nomads       Cyborgs      Hybrids      Conclusion