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Explores new approaches to portraying identity and the human face and figure, through works from the Smithsonian National Portrait Gallery's collections and other institutions.
Sommario
Foreword by Kim Sajet
Introduction by Wendy Wick ReavesBody Politics: Copley's Portraits as Political Effigies during the American Revolution by Lauren Lessing, Nina Roth-Wells, Terri SabatosPrince Demah and the Profession of Portrait Painting by Jennifer Van Horn"Capital Likenesses": George Washington, the Federal City, and Economic Selfhood in American Portraiture by Ross BarrettCaricature Portraits and Early American Identity by Allison M. Stagg
Reconstruction Reconsidered: The Gordon Collection of the National Portrait Gallery by Kate C. LemayCloud of Witnesses: Painting History through Combinative Portraiture by Christopher Allison"Let Me Take Your Head": Photographic Portraiture and the Gilded Age Celebrity Image by Erin PauwelsSoul-Searching: The Portrait in Gilded Age America by Akela ReasonPlaying against Type: Frank Matsura's Photographic Performances by ShiPu Wang
The Other's Other: Portrait Photography in Latin America, 1890-1930 by Juanita Solano RoaPhotos of Style and Dignity: Woodard's Studio and the Delivery of Black Modern Subjectivity by Amy MooneySide Eye: Early-Twentieth-Century American Portraiture on the Periphery by Jonathan Frederick Walz"Call It a Little Game between I and Me": Mar/Cel Duchamp in the Wilson-Lincoln System by Anne GoodyearMaking Sense of Our Selfie Nation by Richard H. SaundersHabla LAMADRE: María Magdalena Campos-Pons, Carrie Mae Weems, and Black Feminist Performance by Nikki A. GreeneMeaningful (Dis)placements: The Portrait of Luis Muñoz Marín by Francisco Rodón at the National Portrait Gallery by Taína CaragolFurther ReadingImage CreditsIndex
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Wendy Wick Reaves is senior curator of prints and drawings, Smithsonian National Portrait Gallery. She started the graphic arts department at the Portrait Gallery in 1974. The collections she has developed include fine art prints, drawings, rare books, cartoons, caricatures, and posters. Reaves has curated numerous exhibitions and served as the Portrait Gallery's interim director from June 2012 through March 2013. Reaves has published books on the prints of George Washington, nineteenth-century portrait prints,
twentieth-century portrait drawings, celebrity caricature, and the editorial cartoons of Pat Oliphant, as well as many articles. Her book Eye Contact: Modern American Portrait Drawings from the National Portrait Gallery (2002) was nominated for a Charles Rufus Morey Award and a George Wittenborn Memorial Award for distinguished scholarship in art history. Reaves earned a master's degree from the Winterthur Program in Early American Culture and is a member and former board member of the Print Council of America.
Riassunto
Explores new approaches to portraying identity and the human face and figure, through works from the Smithsonian National Portrait Gallery's collections and other institutions.
