Welcome to a guide for Professor Matt Johnston's Art 303: Realism, Photography, and Print Culture in Nineteenth Century America. If you have any questions, please ask Erica.
Books on Reserve for Art 303
A Concise History of American Painting and Sculpture by
This clear, thorough, and reliable survey of American painting and sculpture from colonial times to the present day covers all the major artists and their works, outlines the social and cultural backgrounds of each period, and includes 409 illustrations integrated with the text. Although some determining factors in American art are considered, Matthew Baigell views the rich and diverse achievements of American art as the result of the efforts and talents of a pluralistic society rather thanas fitting into a particular mold.This edition includes corrections and revisions to the text, an updated bibliography, and 13 new illustrations.
Call Number: ask at Check Out deskPublication Date: 1996
A World History of Photography by
Encompasses the entire range of the photographic medium, from the camera lucida to up-to-date computer technology, and from Europe and the Americas to the Far East. The text investigates all aspects of photography - aesthetic, documentary, commercial and technical - while placing it in historical context. It includes three technical sections with detailed information about equipment and processes. This edition also updates important new international work from the 1980s and 1990s.
Call Number: ask at Check Out deskPublication Date: 1997
Framing America by
Frances K. Pohl is Professor of Art History at Pomona College, California.
Call Number: ask at Check Out deskPublication Date: 2002
Techniques of the Observer by
In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s. Jonathan Crary is Assistant Professor of Art History at Barnard College and Columbia University. He is a founding editor of Zone and Zone Books.
Call Number: ask at Check Out deskPublication Date: 1990- A History of Book Publishing in the United States byCall Number: ask at Check Out deskPublication Date: 1972
