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- 2016
- Annelise K. Madsen, "'Something of color and imagination': Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America"
"'Something of color and imagination': Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America"
"'Something of color and imagination': Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America"
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Symposia Abstracts and Speaker Bios
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2016
- Erika Doss, "Screwball Regionalism: Grant Wood and Humor During the Great Depression"
- Kerry Dean Carso, "Grant Wood and the After-Life of Victorian Architecture"
- James Swensen, "On Common Ground: Grant Wood and the photography of the Farm Security Administration"
- Annelise K. Madsen, "'Something of color and imagination': Grant Wood, Storytelling, and the Past’s Appeal in Depression-Era America"
- Jason Weems, "Grant Wood's Regionalist Camouflage"
- Sue Taylor, "In Springtime: Myth and Memory in Grant Wood's Last Paintings"
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2018
- Betni Kalk, "Artist-Community Collaborative Murals"
- Carrie Ida, "On the Line and Community Engagement"
- Jane Gilmor, "Within and Without: A Socially Engaged Art Practice Investigates the Invisible Worker, Poverty and Community Building"
- Fereshteh Toosi, "Learning in Public: Socially-Engaged Art and Experimental Education"
- David Bright, "Permission, Ownership, Copyright, and Preservation, and Sale of Public Art"
- Lynn Verschoor and Scott Wallace, "Public Art, Private Funds"
- Mandy Vink, "How Saying No to YES became the Catalyst for Boulder's Public Art Program"
- Jen Krava, "Codified Bodies: Tools to Measure Social Liberation and Inculcate Cultural Change"
- Traci Molloy, "Against My Will: A Multigenerational Collaboration with Sexual Assault Survivors from Alfred University"
- Michael LeClere, "Art as an Avenue to Promote Industry, Manufacturing, and Placemaking Amidst the Decline of America's Bread Basket, Rust Belt, and & Rural Communities"
- Desmond Lewis, "Grit and Grind: Memphis Bred Me"
- Dan Perry and Tom Stancliffe, "Public Art Incubator: Fabricating Community Engagement Through Public Art"
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2022
- Valerie Balint, "Yesterday and Tomorrow: Re-framing the Historic Artists’ Homes and Studios Program"
- Joni Kinsey, "Grant Wood’s Studio-Homes: From Hayloft to Mansion, Overalls to Hollywood"
- Olivia Armandroff, "Tiling a Life: Henry Chapman Mercer and His Fonthill Castle"
- Michael Clapper, "Living the Dream: Maxfield Parrish and The Oaks"
- Karen Zukowski, "The Past and Future of Henry Varnum Poor's Crow House"
- Lisa Stone, "Home Based and Life-Specific: Artist-Built Environments"
- Zac Bleicher, "Edgar Miller’s Handmade Homes and Studios of Interwar Chicago"
- Sarah Rovang, "'Thinking on a Wall': Home, Space, and the Creative Practice of Georgia O’Keeffe"
- Daniel Belasco, "The Artist as Builder: Al Held’s Barn Studio, 1965–2005"
- Sean Ulmer, "The Grant Wood Studio: A Space Transformed and Transformational"
- Victoria Munro, "Alice Austen House"
- Helen A. Harrison, "'The Country is Wonderful': Jackson Pollock and Lee Krasner in The Springs"
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2025
- Maya Harakawa, "Benny Andrews and the Problem of Regionalism"
- Erika Schneider, "Inclusive Regionalism: Meta Vaux Warrick Fuller’s Water Boy"
- Carey Rote, "Antonio E. García: South Texas Regionalist"
- Gina Gwen Palacios, "Frontera Regionalism: Art from the Borderlands"
- Liz Kim, "Regionalist Views of Amado M. Peña’s Chicano Movement Posters"
- James Denison, "Beyond Midwestern Realism: Racialized Regionalism in Comparative Perspective"
- David Ehrenpreis, "'Savage Iowa:' Grant Wood’s Vision of Native America"
- Christopher Atkins, "Reimagining Rural America: Grant Wood’s Corn Room"
- Paolo Morales, "Memphis Tulips and Flowering Dogwood: Exploring Racialization of the Photograph through Encounters as an Asian-American"
- Christopher-Rasheem McMillan, "Performing Christian Nationalism in the Midwest: Race, Ritual, and the Other"
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2016
Abstract
In paintings such as Daughters of Revolution (1932) and Parson Weems’ Fable (1939), Grant Wood clearly asserted his own role as interpreter and storyteller, aiming to preserve “something of color and imagination,” in his words, from the past for the Depression-era present. “As I see it, the most effective way to do this is to frankly accept these historical tales for what they are now known to be—folklore—and treat them in such a fashion that the realistic-minded, sophisticated people of our generation can accept them.” (New York Times, January 3, 1940). The painter took liberties with the stuff of history, not to pull the wool over his audiences’ eyes but to rekindle a common American heritage through doses of fact, fiction, humor, and artistry. History-telling itself becomes a subject in many of his paintings, brought to the fore by renderings of strong narratives, relatable figures, and timeworn objects. History, myth, and material culture were points of departure, building blocks for visually expressing new commentaries about shared experiences and values.
Wood’s deep, yet playful engagement with the past marks a defining contribution to American modernism. This paper examines Grant Wood as visual history-teller during the 1930s. It also considers Wood’s efforts alongside those of his contemporaries, including Aaron Douglas, Edward Hopper, Doris Lee, Ben Shahn, and Charles Sheeler, who likewise called on the past to reimagine understandings of local and national identities during the Depression years. Working in a range of styles from realism to abstraction, artists revived the old in varying ways, marshaling diverse origin stories and historical artifacts to shape an array of modernisms. The paper aims to better understand Wood’s distinctive place as national raconteur by situating his works within the era’s broad endeavor to visualize (versions of) the past in service of culture and community.
Watch the presentation on YouTube. NOTE: This presentation runs from 1:23:12 through 2:02:24 during the video.
About the presenter

Annelise K. Madsen is Assistant Curator of American Art at the Art Institute of Chicago and a co-curator of America after the Fall: Painting in the 1930s (organized by the Art Institute of Chicago and traveling to the Musée de l’Orangerie, Paris, and the Royal Academy of Arts, London, in 2016–17). In 2013, she co-curated the exhibition Art and Appetite: American Painting, Culture, and Cuisine and contributed to its accompanying catalogue. She has published several essays on Gilded Age and Progressive Era civic art, most recently on suffrage pageantry in Winterthur Portfolio (Winter 2014) and on the mural program at the Library of Congress in American Art (Summer 2012). Currently, she is working on an exhibition entitled John Singer Sargent and Chicago’s Gilded Age for summer 2018 at the Art Institute. Annelise serves on the board of the Association of Historians of American Art (AHAA). She holds a Ph.D. in art history from Stanford University.