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American Art and Architecture


Samuel Colman: Storm King on the Hudson, oil on canvas, 816×1520 mm, 1866 (Washington, DC, Smithsonian American Art Museum); photo credit: Smithsonian American Art Museum/Art Resource, NY   Jasper F. Cropsey: Indian Summer, oil on canvas, 179×330 mm, 1886 (Washington, DC, Smithsonian American Art Museum, Bequest of Martha L. Loomis); photo credit; Art Resource, NY


In this season’s update, Grove Art Online presents 121 new and revised articles on American art and architecture. Many new and updated entries added to Grove in the past two years originated with the development of the Grove Encyclopedia of American Art, a project edited by Joan Marter and released in 2011. This project updated and expanded Grove’s coverage of American art and architecture, spanning the Pre-Columbian era to the colonial period to the 21st century.

The most recent group of entries includes new coverage of Op Art in America, as well as the Natchez, the Native American people who thrived in the lower Mississippi region. Newly revised biographies cover video and sound installation artist Bill Viola, photographer Bill Owens, avant garde artist Max Ernst, and I. M. Pei, architect of notable museum expansions including the National Gallery of Art, the Museum of Fine Arts, Boston, and the Louvre. Other updated content includes articles on American sculpture and patronage in the United States, as well as the cities of Williamsburg, St. Louis, San Diego, Seattle, and Salt Lake City, whose city plan was modelled on deceased leader Joseph Smith’s plan of ‘Zion’, with ten-acre blocks and wide streets. New images of American art and architecture have been added to Grove in this update, including Christo and Jeanne-Claude’s Running Fence, John Singleton Copley’s The Death of Major Peirson, January 6, 1781, and a work from conceptual artist Joseph Kosuth’s Art as Idea as Idea series of enlarged dictionary entries. Used as objects, words in these series relate to the making of meaning, which involves “not only the assertion of meaning but also its cancellation, since one kind of meaning needs to be produced through cancellation or denial or erasure of a group of meanings,” as Kosuth said in a 1994 interview.

Alodie Larson, Editor
Lillyan Ling, Assistant Editor
oxfordarteditor@oup.com


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