Yet this study is among the first to examine the relationship between ethnicity and identity among the largest immigrant group to that city. By focusing on Mexican immigrants to Los Angeles from 1900 to 1945, George J. S�nchez explores the process by which temporary sojourners altered their orientation to that of permanent residents, thereby laying the foundation for a new Mexican-American culture. Analyzing not only formal programs aimed at these newcomers by the United States and Mexico, but also the world created by these immigrants through family networks, religious practice, musical entertainment, and work and consumption patterns, S�nchez uncovers the creative ways Mexicans adapted their culture to life in the United States. When a formal repatriation campaign pushed thousands to return to Mexico, those remaining in Los Angeles launched new campaigns to gain civil rights as ethnic Americans through labor unions and New Deal politics. The immigrant generation, therefore, laid the groundwork for the emerging Mexican-American identity of their children.

    Spencer traces the Black Panther Party's organizational evolution in Oakland, California, where hundreds of young people came to political awareness and journeyed to adulthood as members. Challenging the belief that the Panthers were a projection of the leadership, Spencer draws on interviews with rank-and-file members, FBI files, and archival materials to examine the impact the organization's internal politics and COINTELPRO's political repression had on its evolution and dissolution. She shows how the Panthers' members interpreted, implemented, and influenced party ideology and programs; initiated dialogues about gender politics; highlighted ambiguities in the Panthers' armed stance; and criticized organizational priorities. Spencer also centers gender politics and the experiences of women and their contributions to the Panthers and the Black Power movement as a whole. Providing a panoramic view of the party's organization over its sixteen-year history, The Revolution Has Come shows how the Black Panthers embodied Black Power through the party's international activism, interracial alliances, commitment to address state violence, and desire to foster self-determination in Oakland's black communities.

    In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a surfeit of aliveness. In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

     Working alongside skilled photographers, Rockwell acted as director, carefully orchestrating models, selecting props, and choosing locations for the photographs -- works of art in their own right -- that served as the basis of his iconic images. Readers will be surprised to find that many of his most memorable characters -- the girl at the mirror, the young couple on prom night, the family on vacation -- were friends and neighbors who served as his amateur models. In this groundbreaking book, author and historian Ron Schick delves into the archive of nearly 20,000 photographs housed at the Norman Rockwell Museum. Featuring reproductions of Rockwell's black-and-white photographs and related full-color artworks, along with an incisive narrative and quotes from Rockwell models and family members, this book will intrigue anyone interested in photography, art, and Americana.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.

    This thoroughly revised and updated second edition of The Visual Culture Reader brings together key writings as well as specially commissioned articles covering a wealth of visual forms including photography, painting, sculpture, fashion, advertising, television, cinema and digital culture.The Reader features an introductory section tracing the development of visual culture studies in response to globalization and digital culture, and articles grouped into thematic sections, each prefaced by an introduction by the editor and conclude with suggestions for further reading.

    Stuart Hall: Critical Dialogues in Cultural Studies is an invaluable collection of writings by and about Stuart Hall. The book provides a representative selection of Hall's enormously influential writings on cultural studies and its concerns: the relationship with Marxism; postmodernism and 'New Times' in cultural and political thought; the development of cultural studies as an international and postcolonial phenomenon, and Hall's engagement with urgent and abiding questions of 'race', ethnicity and identity.In addition to presenting classic writings by Hall and new interviews with Hall in dialogue with Kuan-Hsing Chen, the collection, which includes work by Angela McRobbie, Kobena Mercer, John Fiske, Charlotte Brunsdon, Ien Ang and Isaac Julien, provides a detailed analysis of Hall's work and his contribution to the development of cultural studies by leading cultural critics and cultural practitioners. The book also includes a comprehensive bibliography of Stuart Hall's writings.

    Sweet Land of Liberty: The Forgotten Struggle for Civil Rights in the North

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    This classic textbook examines the artistic movements and achievements of that time.

    With so much attention on the flames," she argued, "everyone had ignored the kindling."Since 1865 and the passage of the Thirteenth Amendment, every time African Americans have made advances towards full participation in our democracy, white reaction has fueled a deliberate and relentless rollback of their gains. The end of the Civil War and Reconstruction was greeted with the Black Codes and Jim Crow; the Supreme Court's landmark 1954 Brown v. Board of Education decision was met with the shutting down of public schools throughout the South while taxpayer dollars financed segregated white private schools; the Civil Rights Act of 1964 and Voting Rights Act of 1965 triggered a coded but powerful response, the so-called Southern Strategy and the War on Drugs that disenfranchised millions of African Americans while propelling presidents Nixon and Reagan into the White House, and then the election of America's first black President, led to the expression of white rage that has been as relentless as it has been brutal.Carefully linking these and other historical flashpoints when social progress for African Americans was countered by deliberate and cleverly crafted opposition, Anderson pulls back the veil that has long covered actions made in the name of protecting democracy, fiscal responsibility, or protection against fraud, rendering visible the long lineage of white rage. Compelling and dramatic in the unimpeachable history it relates, White Rage will add an important new dimension to the national conversation about race in America.

    The history of art has been, successively, a history of artists and their works, of styles and stylistic change, of images--and now, of context and cultures. Art history at its best makes use of all these. 530 color illustrations. 782 b&w.

    From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.

    But how did fast food restaurants so thoroughly saturate black neighborhoods in the first place?In Franchise, acclaimed historian Marcia Chatelain uncovers a surprising history of cooperation among fast food companies, black capitalists, and civil rights leaders, who—in the troubled years after King’s assassination—believed they found an economic answer to the problem of racial inequality. With the discourse of social welfare all but evaporated, federal programs under presidents Johnson and Nixon promoted a new vision for racial justice: that the franchising of fast food restaurants, by black citizens in their own neighborhoods, could finally improve the quality of black life.Synthesizing years of research, Franchise tells a troubling success story of an industry that blossomed the very moment a freedom movement began to wither.

    Or, more difficult yet, imagine an America unaffected by the cultural expressions and forms of the twentieth-century social movements that have shaped our nation. The first broad overview of social movements and the distinctive cultural forms that express and helped shape them, The Art of Protest shows the vital importance of these movements to American culture. In comparative accounts of movements beginning with the African American civil rights movement of the 1950s and 1960s and running through the Internet-driven movement for global justice ("Will the revolution be cybercast?") of the twenty-first century, T. V. Reed enriches our understanding of protest and its cultural expression. Reed explores the street drama of the Black Panthers, the revolutionary murals of the Chicano movement, the American Indian Movement's use of film and video, rock music and the struggles against famine and apartheid, ACT UP's use of visual art in the campaign against AIDS, and the literature of environmental justice. Throughout, Reed employs the concept of culture in three interrelated ways: by examining social movements as sub- or countercultures; by looking at poetry, painting, music, murals, film, and fiction in and around social movements; and by considering the ways in which the cultural texts generated by resistance movements have reshaped the contours of the wider American culture. The United States is a nation that began with a protest. Through the kaleidoscopic lens of artistic and cultural expression, Reed reveals how activism continues to remake our world.