Looking Askance: Skepticism and American Art from Eakins to Duchamp

If seeing ever really was a reason for believing, it surely was not in New York around 1900. The rift between appearances and truth was widening: deceptive images flourished in advertising and mass media; science contradicted unaided vision; the spirit world gained credibility; and hucksters, frauds, and hoaxes proliferated. In Looking Askance, Michael Leja conducts a dazzling tour from fine art to mass culture and back again to chart the emergence of a new skepticism about seeing and to assess the roles played by the visual arts, both fine and commercial, in this cultural transformation. A lively exploration of the relationship between modern art, truth, and deception, Looking Askance offers a new paradigm for understanding American visual culture, from the art of Thomas Eakins, William Harnett, and Marcel Duchamp to such fascinating historical episodes as the trial of spirit photographer William Mumler, scientist Helen Abbott's interpretation of Monet's Impressionism, the myriad illusions featured at the Buffalo World's Fair of 1901, and William James's analysis of automatic drawing. Leja traces the roots of skeptical seeing in the culture of modernity and in national values of entrepreneurship, invention, competition, and unregulated marketing. This brilliantly pluralistic study will resonate with a broad spectrum of multidisciplinary interests. Tracking the way questions about the nature of seeing inform self-constructions of the modern subject, Leja moves flexibly through a wide range of surprisingly diverse materials, linking spirit photography, world fairs, circuses, automatic drawing, realist painting, and Marcel Duchamp. In true skeptical fashion, Leja trains his eye on the ambiguities of his materials, refusing to let them settle into either a celebratory or a cynical narrative. Opposites are revealed as similar (P. T. Barnum's humbug and George Washington's truth-telling both play on the motif of deception), while humbugs manifest difference (a radical fear of dishonesty versus a source of delight). The final illuminating shift in this complex study is thus from the modern need to negotiate multiple and layered realities to the manifold optical lenses of Leja's own kaleidoscopic approach.

Table of Contents:
Acknowledgments List of Illustrations Introduction: Looking Askance 1. Mumler's Fraudulent Photographs 2. Eakins's Reality Effects 3. Impressionism and Nature's Deceptions 4. Touching Pictures by William Harnett 5. Buffalo's Illusions 6. The Self's Deceptions 7. Humbugs for Highbrows: Duchamp's Readymades in New York Notes Index

About the Author :
Michael Leja is Professor of the History of Art at the University of Pennsylvania and the author of Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (1993).

Review :
"An illuminating study...[it] will undoubtedly prompt many readers to reconsider American culture at the turn of the twentieth century in light of his manifold discoveries." - Cecile Whiting, Caa Reviews "A brilliant new reading of Duchamp's reception that is likely to become the definitive account of the American response to the Armory Show. In its visual acuity, historical specificity, and interdisciplinary range, as well as in its careful attention to transatlantic cultural differences, Leja's study provides an indispensable model for future scholarship in American modernism and American art more generally." - Artforum / Bookforum "Michael Leja, one of our most original and acute historians of American art, has written an indispensable and lively study of what we might call the modern anxiety of seeing. He traces our inherently skeptical view of the world back to the turn of the last century, a golden age of hucksters, swindlers, quacks, humbugs, rascals, cheats, and confidence men, and shows how artists as diverse as Eakins and Duchamp fit into this new culture of suspicion. Leja's book breathes fresh life into the period." - Michael Kimmelman"