The Age of Enterprise is a new interpretation of the history of the United States based upon the existing monographic material in American history, economics, and related social subjects. It is not a book of original research, though the authors themselves have published a few of the articles from which material has been drawn. America has been settled mainly by enterprising immigrants seeking economic opportunities and economic freedom. The most dramatic story in our history is the story of business enterprise itself, the story of its institutions and their impact upon American society. It is time to try to chart the course of our history from a busines point of view. - Introduction.

Looks at the works of women historians, from the late nineteenth century to the end of World War II, and their impact on the social and cultural history of the United States.

This groundbreaking account of the development of American business from the colonial period to the present explains that the history of the United States can best be understood not as a search for freedom—but as a search for wealth and prosperity. The Land of Enterprise charts the development of American business from the colonial period to the present. It explores the nation’s evolving economic, social, and political landscape by examining how different types of enterprising activities rose and fell, how new labor and production technologies supplanted old ones—and at what costs—and how Americans of all stripes responded to the tumultuous world of business. In particular, historian Benjamin Waterhouse highlights the changes in business practices, the development of different industries and sectors, and the complex relationship between business and national politics. From executives and bankers to farmers and sailors, from union leaders to politicians to slaves, business history is American history, and Waterhouse pays tribute to the unnamed millions who traded their labor (sometimes by choice, often not) or decided what products to consume (sometimes informed, often not). Their story includes those who fought against what they saw as an oppressive system of exploitation as well as those who defended free markets from any outside intervention. The Land of Enterprise is not only a comprehensive look into our past achievements, but offers clues as to how to confront the challenges of today’s world: globalization, income inequality, and technological change.

An incisive look at the intellectual and cultural history of free enterprise and its influence on American politics Throughout the twentieth century, "free enterprise" has been a contested keyword in American politics, and the cornerstone of a conservative philosophy that seeks to limit government involvement into economic matters. Lawrence B. Glickman shows how the idea first gained traction in American discourse and was championed by opponents of the New Deal. Those politicians, believing free enterprise to be a fundamental American value, held it up as an antidote to a liberalism that they maintained would lead toward totalitarian statism. Tracing the use of the concept of free enterprise, Glickman shows how it has both constrained and transformed political dialogue. He presents a fascinating look into the complex history, and marketing, of an idea that forms the linchpin of the contemporary opposition to government regulation, taxation, and programs such as Medicare.

Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalized artists, the "dark matter" of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this "dark matter" of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.