Spring 2020 (6.1)
Articles
Historical Memory, Reconciliation, and the Shaping of the Postbellum Landscape: The Civil War Monuments of Forest Park, St. Louis
When viewed collectively, these monuments—and the ceremonies surrounding them—offer significant insight into the changing views and attitudes of the St. Louis citizenry with regard to sectional reconciliation, illuminating the shifting memories and evolving history of the Civil War in Missouri and the political, social, and cultural implications of the bloody and divisive conflict.
In the Round
“Little of Artistic Merit?”: The Art of the American South
As Americanists, reckoning with the South might also help us to understand its diverse regional histories and reflect upon broader national contemporary discourses, both from within and without.
Bully Pulpit
What is the Place of Empire in the History of American Art?
Overseas empire building remains a blind spot in our field due to both a specific historiographic bias—with origins dating back to an era of Cold War exceptionalism, when scholars focused on defining the “Americanness” of US art both past and present—and the longtime privileging of continental over territorial concerns in American culture more broadly.
Responses
Anna Arabindan-Kesson
Shana Klein
Taína Caragol and Kate Clarke Lemay
Florina H. Capistrano-Baker
J. M. Mancini
Stacy L. Kamehiro
Research Notes
A Portrait on the Move: Photography, Literature, and Transatlantic Exchanges in the Nineteenth Century
The pair of Portraitstudie images . . . suggest that international exchanges and collaborations were central to the development of photography well beyond the initial flurry of activity around 1839.
“The Bulk of the Best Visible Things”: Judd’s Review of Twentieth Century Engineering at the Museum of Modern Art
“Dams, roads, bridges, tunnels, storage buildings and various other useful structures comprise the bulk of the best visible things made in this century,” wrote Donald Judd in October 1964.
A “Studio-House” for Georgia O’Keeffe
The existence of these drawings among O’Keeffe’s papers raises a number of questions: first, why did [architect Peter van der Meulen] Smith create them in the first place? Second, how did they come to be in O’Keeffe’s possession? And third, did the drawings influence [Maria] Chabot’s design for the separate studio building at Abiquiu?
