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03687aam a2200469 i 4500 001 90DF9ECC00D511E888826E0497128E48 003 SILO 005 20180124010218 008 160930t20172017nyuaf b 001 0 eng 010 $a 2016045135 020 $a 1501325752 020 $a 9781501325755 035 $a (OCoLC)959922736 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d YDX $d BDX $d BTCTA $d OCLCQ $d ERASA $d YDX $d UtOrBLW $d SILO 042 $a pcc 043 $a n-us--- $0 http://id.loc.gov/vocabulary/geographicAreas/n-us 050 00 $a ND1460.M38 $b B69 2017 $0 http://id.loc.gov/authorities/classification/N 082 00 $a 700/.45211 $2 23 100 1 $a Boylan, Alexis L., $e author. $0 http://id.loc.gov/authorities/names/nr2004028561 245 10 $a Ashcan art, Whiteness, and the unspectacular man / $c Alexis L. Boylan. 264 1 $a New York, NY : $b Bloomsbury Academic, $c 2017. 300 $a xvi, 264 pages, 32 unnumbered pages of plates ; $c 24 cm 504 $a Includes bibliographical references and index. 505 0 $a What are you looking at? Bodies, desire, and portraits -- Working hard or hardly working? Labor, race, and manhood -- Sex sells: Desire, money, and male bodies -- Men seeking men. 520 8 $a Arriving in New York City in the first decade of the twentieth century, six painters - Robert Henri, John Sloan, Everett Shinn, Glackens, George Luks, and George Bellows, subsequently known as the Ashcan Circle -f aced a visual culture that depicted the urban man as a diseased body under assault. Ashcan artists countered this narrative, manipulating the bodies of construction workers, tramps, entertainers, and office workers to stand in visual opposition to popular, political, and commercial cultures. They did so by repeatedly positioning white male bodies as having no cleverness, no moral authority, no style, and no particular charisma, crafting with consistency an unspectacular man. This was an attempt, both radical and deeply insidious, to make the white male body stand outside visual systems of knowledge, to resist the disciplining powers of commercial capitalism, and to simply be with no justification or rationale. Ashcan artists reconfigured urban masculinity for national audiences and reimagined the possibility and privilege of the unremarkable white, male body thus shaping dialogues about modernity, gender, and race that shifted visual culture in the United States. 650 0 $a Masculinity in art. $0 http://id.loc.gov/authorities/subjects/sh96012017 650 0 $a Ashcan school of art. $0 http://id.loc.gov/authorities/subjects/sh85008591 650 0 $a Painting, American $y 19th century $x Themes, motives. 650 0 $a Painting, American $y 20th century $x Themes, motives. 650 0 $a Art and society $z United States $x History $y 19th century. 650 0 $a Art and society $z United States $x History $y 20th century. $0 http://id.loc.gov/authorities/subjects/sh2009114825 650 7 $a Art and society. $2 fast $0 (OCoLC)fst00815432 650 7 $a Ashcan school of art. $2 fast $0 (OCoLC)fst00818531 650 7 $a Masculinity in art. $2 fast $0 (OCoLC)fst01011039 650 7 $a Painting, American $x Themes, motives. $2 fast $0 (OCoLC)fst01050660 651 7 $a United States. $2 fast $0 (OCoLC)fst01204155 648 7 $a 1800-1999 $2 fast 655 7 $a History. $2 fast $0 http://id.worldcat.org/fast/1411628 $0 http://id.worldcat.org/fast/1411628 776 08 $i Online version: $a Boylan, Alexis L., author. $t Ashcan art, whiteness, and the unspectacular man. $d New York : Bloomsbury Academic, 2017 $z 9781501325762 $w (DLC) 2016045819 941 $a 1 952 $l OVUX522 $d 20191210014257.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=90DF9ECC00D511E888826E0497128E48Initiate Another SILO Locator Search