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  Poster Children of the Sun: George M. Ottinger's Mesoamerican History Paintings and Latter-day Saint Identity in the U.S.-United mexican states Borderlands

  pp. 2–29

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  Abstract

  This essay explores the human relationship between the Utah creative person George Martin Ottinger's Mesoamerican history paintings and Mormon beliefs and missionary efforts in northern Mexico. Members of the Church of Jesus Christ of Latter-day Saints (LDS) did non share prevailing nineteenth-century U.S. attitudes toward pre-Columbian peoples. While most U.South. artists and writers emphasized Aztec warfare and rituals of human sacrifice, Ottinger depicted Mesoamerican gild as inherently peaceful and refined. Analyzing his paintings in relation to U.Southward. legal prosecution of LDS polygamous practice and contemporaneous Mormon settlement in Sonora and Chihuahua, I posit that Ottinger held a contradictory conception of Indigenous populations, simultaneously proclaiming LDS grouping analogousness with a noble pre-Hispanic by and perpetuating disparaging settler-colonial tropes in his depictions of gender and race. His paintings operate in the cultural periphery of Mexico and the United States, yet in dialogue with the nationalist discourses of both countries to offering mainstream audiences a nonthreatening introduction to LDS scripture equally well as a racial justification for Mormon spiritual and territorial expansion.

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  Whose Expanded Field? Bruce Nauman, New United mexican states, and the Center of the Universe (1988)

  • W. Ian Bourland

  pp. 30–59

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  This commodity examines a large-scale installation past multimedia artist Bruce Nauman, deputed for the Academy of New Mexico campus during the mid-1980s. While his Center of the Universe (1988) is largely overlooked by critics and scholars, new archival research indicates that it was primal to Nauman's practice in the years afterwards his relocation from Los Angeles to the surroundings of Santa Fe in 1979. The subsequent controversy surrounding the work and its ambivalent connection to the regional mural also locates Nauman at the intersection of debates effectually public fine art, Postminimal earthworks, and a long history of incursion into the Southwest by artists from the East and West Coasts. Ultimately, this article contributes to a larger reappraisal of historic twentieth-century avant-gardists past highlighting the ways in which Nauman and his contemporaries relied on Indigenous cultural forms and settler-colonialist expropriations to accelerate an "expanding field" of tardily modernist art.

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  Abstruse Nationalisms: Barnett Newman and Buried History

  • Saul Nelson

  pp. lx–89

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  Abstract

  This essay analyzes the nationalization of modernism in the United States through the art of Barnett Newman, Georges Mathieu, and Larry Rivers. Modernism became the official high culture of the United States—and, by extension, "the West"—during the 1950s and 1960s. Rivers and Mathieu sought to place modernist painting in touch with history painting and the national past, without sacrificing contemporaneity. The contradictions unsaid by this approach were role of the point. In the catalog to the exhibition 12 Americans (1956), Rivers is described in the introduction equally a "reactionary," while a few pages later he calls himself a "revolutionary." Mathieu—a Don Quixote figure, a pseudo-aloof oddity, a self-anointed knight with one pes in the by and one in the future—lived such contradictions. Though oftentimes considered eccentric, these painters help the states sympathize the development of postwar abstraction. Newman's work in the 1950s reveals that he, as well, was grappling with an effort to identify painting in touch with the national past.

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  Christopher D'Arcangelo Speculates: Transcending the Art-Labor Dialectic in Post-Fiscal-Crisis New York

  • Sami Siegelbaum

  pp. 90–109

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  This article examines Christopher D'Arcangelo'southward so-chosen functional constructions, renovations he made to loft spaces in Manhattan, specially around SoHo, in 1978 for friends in the art world. Upon completion, D'Arcangelo invited others to view the renovated space, forth with the contract documents stipulating the costs of labor and materials, as his own artwork. By adapting industrial spaces into places for art and living, D'Arcangelo realized the utopian aspiration of the advanced to fuse art and life, only tardily. Instead, the works gesture to a new formulation of value premised non on the artwork'south commodity status or artful autonomy but on its speculative capacity within a gentrifying postindustrial city. They thus occupy an overlooked historical infinite between the critical interrogation of modernist institutions and categories associated with art of the 1960s, and the subsumption of art past neoliberal capitalism.

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  Sinners All: The Queer Globe of Paul Cadmus'due south 7 Deadly Sins

  • Angela Miller

  pp. 110–136

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  Paul Cadmus'south minor and lurid series The Vii Deadly Sins (1945–49, Metropolitan Museum of Art) seems an odd option for an artist who had repudiated his Roman Catholic upbringing and whose sexuality fell outside the norms of institutionalized morality. An episode within Cadmus's broader vacillations between satire and idealization, this article argues for their interdependence. Reading the reception of the serial by his own network, I analyze their tangled responses to his visualization of sin. By mixing high and depression references, stretching the boundaries of genre, and bending gender alignments, Cadmus "camps" his subject, and his satirical handling disrupts its moral content. Framing the serial in relation to What I Believe (1947–48), the creative person's projection of an idealized queer world, the essay explores the work in terms of an unresolved tension betwixt a "homosexual Zion" and a vision of shared and universal values of tolerance and acceptance.

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Frequency: three issues/twelvemonth
ISSN: 1073-9300
Due east-ISSN: 1549-6503

American Art publishes innovative peer-reviewed scholarship on the history of fine art and related visual civilization. The periodical critically engages with the material and conceptual weather of art and provides a forum for the expanding field of American art history. It welcomes scholarship on the role played by art in the ongoing transnational and transcultural formation of America every bit a contested geography, identity, and idea. Committed to rigorous enquiry, the periodical presents a range of approaches to the product and consumption of art.

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