In the heady and hallucinogenic days of the 1960s and ’70s, a diverse range of artists and creative individuals based in the American West—from the Pacific coast to the Rocky Mountains and the Southwest—broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement. Often created through radically collaborative artistic practices, such works as Paolo Soleri’s earth homes, the hand-built architecture of the Drop City and Libre communes, Yolanda López’s political posters, the multisensory movement workshops of Anna and Lawrence Halprin, and the immersive light shows and video-based work by the Ant Farm and Optic Nerve collectives were intended to generate new life patterns that pointed toward social and political emancipation. In West of Center, Elissa Auther and Adam Lerner bring together a prominent group of scholars to elaborate the historical and artistic significance of these counterculture projects within the broader narrative of postwar American art, which skews heavily toward New York’s avant-garde art scene. This west of center countercultural movement has typically been associated with psychedelic art, but the contributors to this book understand this as only one dimension of the larger, artistically oriented, socially based phenomenon. At the same time, they reveal the disciplinary, geographic, and theoretical biases and assumptions that have led to the dismissal of countercultural practices in the history of art and visual culture, and they detail how this form of cultural and political activity found its place in the West. A companion to an exhibition originating at the Museum of Contemporary Art Denver, this book illuminates how, in the western United States, the counterculture’s unique integration of art practices, political action, and collaborative life activities serves as a linchpin connecting postwar and contemporary artistic endeavors.

Richard Diebenkorn (1922-1993) quietly constructed a place for himself in the history of twentieth-century art with his singular vision and intense commitment to the idea and practice of both figuration and abstraction.

Every year the few hundred members of the Committees, Task Forces, and Councils of the American Psychiatric Association meet in Washington, D.C. to conduct their business. They deliberate on a wide variety of issues encompassed in the activities of each group. The psychiatrists constituting this mixed and somewhat elite group include some of the better-known and promising people in the profession, which makes the plenary session and cocktail party good occasions to meet old friends and to make new ones. Several years ago one of us (N.B.L.) attended this gathering as a member of a soon-to-be defunct group, the Committee Liaison with the American College of Physicians, and met Ann Chappell, a member of the Task Force on Women. We were soon joined by Richard Grant. Ann impressed us with the work her group was doing on issues surrounding the Women's Movement as it relates to patients and the changing roles of the early 1970s. She was struck by the fact that although some women had been very active in this endeavor, nobody in Ameri can psychiatry was addressing issues which are arising in men as a result of the changing roles of women in society. Dick and Norm were moved by what she said and decided that they would make an effort to gather together people interested in the issue of the changing roles of males in society at the oncoming meeting of the American Psychiatric Association.