Richly illustrated and thoroughly researched, A Shared Vision showcases one of the most significa... more Richly illustrated and thoroughly researched, A Shared Vision showcases one of the most significant collections of American art assembled in the twenty-first century. At the same time, it celebrates the generosity and vision of collectors Macon and Joan Brock, whose promised gift of the Macon and Joan Brock Collection of American Art to the Chrysler Museum of Art represents the most transformative addition to the institution's collection since Walter P. Chrysler Jr.'s foundational gift more than 50 years ago. The Brocks exercised great foresight in the construction of a collection for the public's benefit and the gift of the collection elevates the stature of the Chrysler's American art holdings and programs, transforming it into a national leader in the exhibition, study, and appreciation of American art. In addition to an introductory essay and interview with collector Joan Brock, catalogue entries by a distinguished group of scholars and curators offer new insights into more than 70 works of art by 54 different artists. The Brock Collection spans nearly one hundred years of American art, from just after the Civil War to the mid-twentieth century. Works by a wide range of artists from Winslow Homer, Childe Hassam, and John Singer Sargent to Marsden Hartley, Max Weber, and George Bellows chart a broad history of American art. Less well-known figures like Mary Fairchild MacMonnies, Helen Corson Hovenden, and Sally Michel bolster the rich depth of the collection and propose new contours to the shape of American art history. Together the works included in the volume and their scholarly commentaries contribute a fresh look at one of the most vital and dynamic periods of American art
Hunting and its aftermath formed a major theme in nineteenth-century American art, appearing in n... more Hunting and its aftermath formed a major theme in nineteenth-century American art, appearing in natural history illustrations, grand paintings of human-animal combat, popular prints, and other visual media. Considered as both a subject matter for art and a material aid in its creation, hunting offers a means by which to trace how a specific form of human intervention in the environment shaped the nation’s attitudes toward nature, national identity formation, and the naturalization of social hierarchies throughout the long nineteenth century. Focusing on the work of five artists—Charles Willson Peale, John James Audubon, George Catlin, Thomas Eakins and Winslow Homer—this project offers new insights into the role that art played in mediating the relationship between nineteenth-century Americans and nature by turning attention to images that pictured the destruction of animals. Rather than an expansive survey of hunting in American art, this dissertation examines hunting imagery through three main frameworks that constitute the central chapters: natural history, western expansion, and elite forms of hunting. The ideal of a shared ownership of nature formed a central facet of American national identity throughout the century. Images of hunting, which were characterized by direct and often violent intervention in nature, represent the utmost expression of this ideal. Indeed, a critical appraisal of images that picture the despoliation of nature is essential to fully understanding Americans’ historical relationship to the natural world and its important role in American culture and history. Artworks that pictured the nation’s natural bounty with awe or reverence (particularly landscape painting) have dominated the discussion of nineteenth-century American art. However, a closer analysis of hunting imagery demonstrates how artists and their publics readily employed representations of environmental and ecological destruction in order to promote a shared ownership of nature, justify the nation’s expansionist impulses, and naturalize divisions within American society.
(Exhibition Review), Shooting Lincoln: Photography and the Sixteenth President, Curated by Alex M... more (Exhibition Review), Shooting Lincoln: Photography and the Sixteenth President, Curated by Alex Mann, Chrysler Museum of Art. Panorama: Journal of the Association of Historians of American Art (Fall, 2015)
Richly illustrated and thoroughly researched, A Shared Vision showcases one of the most significa... more Richly illustrated and thoroughly researched, A Shared Vision showcases one of the most significant collections of American art assembled in the twenty-first century. At the same time, it celebrates the generosity and vision of collectors Macon and Joan Brock, whose promised gift of the Macon and Joan Brock Collection of American Art to the Chrysler Museum of Art represents the most transformative addition to the institution's collection since Walter P. Chrysler Jr.'s foundational gift more than 50 years ago. The Brocks exercised great foresight in the construction of a collection for the public's benefit and the gift of the collection elevates the stature of the Chrysler's American art holdings and programs, transforming it into a national leader in the exhibition, study, and appreciation of American art. In addition to an introductory essay and interview with collector Joan Brock, catalogue entries by a distinguished group of scholars and curators offer new insights into more than 70 works of art by 54 different artists. The Brock Collection spans nearly one hundred years of American art, from just after the Civil War to the mid-twentieth century. Works by a wide range of artists from Winslow Homer, Childe Hassam, and John Singer Sargent to Marsden Hartley, Max Weber, and George Bellows chart a broad history of American art. Less well-known figures like Mary Fairchild MacMonnies, Helen Corson Hovenden, and Sally Michel bolster the rich depth of the collection and propose new contours to the shape of American art history. Together the works included in the volume and their scholarly commentaries contribute a fresh look at one of the most vital and dynamic periods of American art
Hunting and its aftermath formed a major theme in nineteenth-century American art, appearing in n... more Hunting and its aftermath formed a major theme in nineteenth-century American art, appearing in natural history illustrations, grand paintings of human-animal combat, popular prints, and other visual media. Considered as both a subject matter for art and a material aid in its creation, hunting offers a means by which to trace how a specific form of human intervention in the environment shaped the nation’s attitudes toward nature, national identity formation, and the naturalization of social hierarchies throughout the long nineteenth century. Focusing on the work of five artists—Charles Willson Peale, John James Audubon, George Catlin, Thomas Eakins and Winslow Homer—this project offers new insights into the role that art played in mediating the relationship between nineteenth-century Americans and nature by turning attention to images that pictured the destruction of animals. Rather than an expansive survey of hunting in American art, this dissertation examines hunting imagery through three main frameworks that constitute the central chapters: natural history, western expansion, and elite forms of hunting. The ideal of a shared ownership of nature formed a central facet of American national identity throughout the century. Images of hunting, which were characterized by direct and often violent intervention in nature, represent the utmost expression of this ideal. Indeed, a critical appraisal of images that picture the despoliation of nature is essential to fully understanding Americans’ historical relationship to the natural world and its important role in American culture and history. Artworks that pictured the nation’s natural bounty with awe or reverence (particularly landscape painting) have dominated the discussion of nineteenth-century American art. However, a closer analysis of hunting imagery demonstrates how artists and their publics readily employed representations of environmental and ecological destruction in order to promote a shared ownership of nature, justify the nation’s expansionist impulses, and naturalize divisions within American society.
(Exhibition Review), Shooting Lincoln: Photography and the Sixteenth President, Curated by Alex M... more (Exhibition Review), Shooting Lincoln: Photography and the Sixteenth President, Curated by Alex Mann, Chrysler Museum of Art. Panorama: Journal of the Association of Historians of American Art (Fall, 2015)
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