Exploring the transformation of California into a center for contemporary art through the twentieth century, this book dramatically illustrates the paths California artists took toward a more diverse and inclusive culture.

For many New Yorkers, the removal of the Brooklyn Dodgers--perhaps the most popular baseball team of all time--to Los Angeles in 1957 remains one of the most traumatic events since World War II. Neil J. Sullivan's controversial reassessment of a story that has reached almost mythic proportions in its many retellings shifts responsibility for the move onto the local governmental maneuverings that occurred on both sides of the continent. Conventional wisdom has it that Dodgers owner Walter O'Malley cold-heartedly abandoned the devoted Brooklyn fans for the easy money of Los Angeles. Sullivan argues that O'Malley had, in fact, wanted to stay in Brooklyn, hoping to build a new stadium with his own money. Situated in an increasingly unsafe neighborhood and without parking facilities, Ebbets Field had become obsolete. Yet an uncooperative New York City administration, led by Robert Moses, blocked O'Malley's plan to use the ideal site at the Atlantic Avenue Long Island Railroad terminal. A political battle over the Dodgers' move also erupted in Los Angeles. Mayor Poulson's suggestion to use Chavez Ravine as the new stadium site triggered opposition from residents concerned about a giveaway. Eventually a telethon campaign that enlisted the help of celebrities such as Groucho Marx, George Burns, and Ronald Reagan enabled the approval of the deal. Set against a backdrop of sporting passion and rivalry, and appearing over thirty years after the Dodgers' last season in Brooklyn, this engrossing book offers new insights into the power struggles existing in the nation's two largest cities.

An exploration of the Bauhaus school and its legacy in the context of the modernist period, including its wider influence on art, design, and education. Bauhaus Goes West is the story of cultural and artistic exchange between Germany and the West over a period of seventy years. It presents a view of the influential Bauhaus school in relation to the wider modernist period, distinguishing between the received idea of the Bauhaus and the documented reality. Initially, the Bauhaus was seen as an educational experiment, only later was it recognized as a style and a movement. Working from meticulous research, Alan Powers reexamines speculations about the reception and understanding of individuals connected with the Bauhaus school and what they ultimately achieved. Looking in greater detail at the theory and practice of art, design, and architecture between the arts and crafts movement and modernism, this book challenges the assumption that the 1920s represented a void of reactionary conservatism. Bauhaus Goes West offers an opportunity to recover some of the overlooked aspects of avant-garde that ran parallel with the work of the Bauhaus, such as the film-making of Francis Brugui re and Len Lye, and the development of art instruction for children under Marion Richardson and the London County Council.

Many Americans know more about the stadiums that loom over their cityscapes or college campuses than they do about any other aspect of the nation’s geography. Stadiums serve as iconic monuments of urban and university identities. Indeed, the power of sport in modern American culture has produced ‘sportscapes’—landscapes literally shaped by their devotion to athletic competition. Curiously, given the importance of the secular cathedrals in American culture, historians have paid little attention to these edifices. The Rise of Stadiums in the Modern United States: Cathedrals of Sport seeks to remedy that oversight. This book will analyze stadiums from a variety of perspectives, paying special attention to the links between the ‘built environment’ in which Americans watch and play games and the larger social environments that the nation’s sporting practices inhabit. The Rise of Stadiums in the Modern United States: Cathedrals of Sport explores the role of stadiums in shaping urban identities, determining the economics of intercollegiate athletics, influencing local and national politics. This book was previously published as a special issue of the International Journal of the History of Sport.

The first comprehensive study of the artist Robert Heinecken and his critical views on the culture of mass media This is the first book-length study dedicated to the artist Robert Heinecken, whose innovative photographic practices sought to interrogate how mass media imagery facilitated the construction of individual and collective identities. Appropriating, rephotographing, and layering pictures culled from newspapers, advertisements, pornography, and television, Heinecken recombined and transformed the ubiquitous images of mass culture to encourage viewers to critically reflect on their sense of self. From the 1960s through the late 1990s, Heinecken’s controversial art continually challenged inherited ideas around consumerism, the facticity of reportage, and visual culture’s relationship to gender and identity politics. Embodying the evolution of contemporary art toward increasingly hybrid and conceptual approaches, his oeuvre includes examples of painting, sculpture, photomontage, performance, installation, time-based media, and artist’s books, all of which collectively exploit photography’s reproducibility to subvert society’s dominant ideologies and stereotypical modes of representation. Author Matthew Biro presents an exhaustive look at Heinecken’s life and art, locating him within a lineage that encompasses the activities of the early twentieth-century avant-gardes and the postmodern strategies of the Pictures Generation artists. Assessing his career within the specific political and historical contexts from which he gleaned his material, and illustrated throughout with vibrant full-color reproductions of his art, this in-depth examination demonstrates Robert Heinecken’s significance as a key figure of twentieth-century art and an incisive commentator on modern life in America.

From the Mississippi west to the Pacific, from border to border north and south, here is the first thorough overview of novelists, historians, and artists of the modern American West. Examining a full century of cultural-intellectual forces at work, a leading authority on the twentieth-century West brings his formidable talents to bear in this pioneering study. Richard W. Etulain divides his book into three major sections. He begins with the period from the 1890s to the 1920s, when artists and authors were inventing an idealized frontier--especially one depicting initial contacts and conflicts with new landscapes and new peoples. The second section covers the regionalists, who focused on regional (mostly geographical) characteristics that shaped distinctively "western" traits of character and institutions. The book concludes with a discussion of the postregional West from World War II to the ’90s, a period when novelists, historians, and artists stressed ethnicity, gender, and a new environmentalism as powerful forces in the formation of modern western society and culture. Etulain casts a wide net in his new study. He discusses novelists from Jack London to John Steinbeck and on to Joan Didion. He covers historians from Frederick Jackson Turner to Earl Pomeroy and Patricia Nelson Limerick, and artists from Frederic Remington and Charles Russell to Georgia O’Keeffe and R. C. Gorman. The author places emphasis on women painters and authors such as Mary Hallock Foote, Mary Austin, Willa Cather, and Judith Baca. He also stresses important works of ethnic writers including Leslie Marmon Silko, Rudolfo Anaya, and Amy Tan. An intriguing survey of tendencies and trends and a well-defined profile of influences and outgrowths, this book will be valuable to students and scholars of western culture and history, American studies, and related disciplines. General readers will appreciate the book’s balanced structure and spirited writing style. All readers, whatever their level of interest, will discover the major cultural inventions of the American West over the past one hundred years.

While traditionally powerful Western economies are treading water at best, beset by crises in banking, housing, and employment, industrial growth and economic development are exploding in China and India. The world's two most populous nations are the biggest reasons for Asia's growing footprint on other global regions. The increasing size and impact of that footprint are especially important in the Middle East, an economic, religious, and geopolitical linchpin. The East Moves West details the growing interdependence of the Middle East and Asia and projects the likely ramifications of this evolving relationship. It also examines the role of Pakistan, Japan, and South Korea in the region. Geoffrey Kemp, a longtime analyst of global security and political economy, compares and contrasts Indian and Chinese involvement in the Middle East. He stresses an embedded historical dimension that gives India substantially more familiarity and interest in the region—India was there first, and it has maintained that head start. Both nations, however, are clearly on the rise and leaving an indelible mark on the Middle East, and that enhanced influence has international ramifications for the United States and throughout the world. Does the emergence of these Asian giants—with their increasingly huge need for energy—strengthen the case for cooperative security, particularly in the maritime arena? After all, safe and open sea-lanes remain an essential component of mutually beneficial intercontinental trade, making India and China increasingly dependent on safe passage of oil tankers. Or will we see reversion to more traditional competition and even conflict, given that the major Asian powers themselves have so many unresolved problems and that the future of the U.S. presence in the area is uncertain. Kemp believes the United States will remain the dominant military power in the region but will have to share some security responsibilities with the Asians, esp