Abstract
This article examines John Steuart Curry’s decade at the University of Wisconsin’s College of Agriculture as the first artist-in-residence in the United States. Exploring Curry’s painting and the educational program for rural amateur artists he created along with sociologist John Barton, this article reframes what critics have deemed Curry’s inexpert techniques as part of a pedagogy of amateurism that located art beyond painting’s mechanics. In Wisconsin, Curry treated the practice of painting as a modern site of democratic resistance against fascism and standardization that would involve rural people actively in the cultural sphere as producers and in the political sphere as citizens.
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