In 1921 Sam Rodia, an Italian laborer and tile setter, started work on an elaborate assemblage in the backyard of his home in Watts, California. The result was an iconic structure now known as the Watts Towers. Rodia created a work that was original, even though the resources available to support his project were virtually nonexistent. Each of his limitations—whether of materials, real estate, finances, or his own education—passed through his creative imagination to become a positive element in his work. In The Modern Moves West, accomplished cultural historian Richard Cándida Smith contends that the Watts Towers provided a model to succeeding California artists that was no longer defined through a subordinate relationship to the artistic capitals of New York and Paris. Tracing the development of abstract painting, assemblage art, and efforts to build new arts institutions, Cándida Smith lays bare the tensions between the democratic and professional sides of modern and contemporary art as California developed a distinct regional cultural life. Men and women from groups long alienated—if not forcibly excluded—from the worlds of "high culture" made their way in, staking out their participation with images and objects that responded to particular circumstances as well as dilemmas of contemporary life, in the process changing the public for whom art was made. Beginning with the emergence of modern art in nineteenth-century France and its influence on young Westerners and continuing through to today's burgeoning border art movement along the U.S.-Mexican frontier, The Modern Moves West dramatically illustrates the paths that California artists took toward a more diverse and inclusive culture.
Wilson, Bryan R. 1966. Religion in Secular Society. London: C. A. Watts. Wilson, Bryan R. 1982. Religion in Sociological Perspective. Oxford: Oxford University Press. Wilson, J. Christy Jr. 1979. Today's Tentmakers: Self Support: An ...
In Improvised Continent, Richard Cándida Smith synthesizes over seventy years of Pan-American cultural activity in the United States and shows how Latin American artists and writers challenged U.S. citizens about their place in the world ...
Modern Dance Magazine wrote of this far western city: “Before it was legislated into sobriety, the turbulent Barbary Coast was a colorful nightmare.... It set a wicked tempo to tempt the adventurous.”16 In this passage, ...
This superb magisterial work is the product of decades of research and reflection and could only have been accomplished by a historian who has lived and researched in many Latin American countries, from Chile to Mexico.
The Modern Moves West: California Artists and Democratic Culture in the Twentieth Century. Philadelphia: University of Pennsylvania Press, 2009. Cinotto, Simone. 2012. Soft Soil, Black Grapes: The Birth of Italian Winemaking in ...
Akinade, Akintunde E. 2010. ... In A New Day: Essays on World Christianity in Honor of Lamin Sanneh, edited by Akintunde E. Akinade, 1–13. New York: Peter Lang. ... Barrett, David B., George T. Kurian, and Todd M. Johnson. 2001.
The American frontier was officially closed, according to the U.S. Census Bureau, in 1890. Yet more homesteads were settled in the first few decades of the twentieth century than in...
... Exemplarity and Mediocrity: The Art of the Average from Bourgeois Tragedy to Realism (Stanford, CA: Stanford University Press, 2009), 165. Cary Levine, “Manly Crafts: Mike Kelley's (Oxy)Moronic Gender Bending,” ArtJournal 69, nos.
Explores how Southern writers have depicted their characters--fraught with an awareness of human frailty and burdened with guilt--showing the basis of that depiction in Christian imagery and Old Testament views...
... William G. Robbins , Hard Times in Paradise : Coos Bay , Oregon , 1850–1986 ( Seattle : University of Washington Press , 1988 ) ; Andrew Gulliford , Boomtown Blues : Colorado Oil Shale , 1885-1985 ( Boulder : University Press of ...