LEADER 04582nam 2200721Ia 450 001 9910824388003321 005 20240418023040.0 010 $a1-283-89893-4 010 $a0-8122-0794-7 024 7 $a10.9783/9780812207941 035 $a(CKB)2550000000104543 035 $a(OCoLC)802049522 035 $a(CaPaEBR)ebrary10576080 035 $a(SSID)ssj0000749618 035 $a(PQKBManifestationID)11480125 035 $a(PQKBTitleCode)TC0000749618 035 $a(PQKBWorkID)10726001 035 $a(PQKB)10198082 035 $a(MdBmJHUP)muse19914 035 $a(DE-B1597)449569 035 $a(OCoLC)979631159 035 $a(DE-B1597)9780812207941 035 $a(Au-PeEL)EBL3441640 035 $a(CaPaEBR)ebr10576080 035 $a(CaONFJC)MIL421143 035 $a(OCoLC)843080457 035 $a(MiAaPQ)EBC3441640 035 $a(EXLCZ)992550000000104543 100 $a20110225d2009 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe modern moves west $eCalifornia artists and democratic culture in the twentieth century /$fRichard Ca?ndida Smith 205 $a1st ed. 210 $aPhiladelphia $cUniversity of Pennsylvania Press$dc2009 215 $a1 online resource (263 p.) 225 1 $aThe arts and intellectual life in modern America 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8122-2221-0 320 $aIncludes bibliographical references and index. 327 $t Frontmatter -- $tContent -- $tIllustrations -- $tIntroduction. Dilemmas of Professional Culture -- $tChapter One. The Case for Modern Art as a Distinct Form of Knowledge -- $tChapter Two. Modern Art in a Provincial Nation -- $tChapter Three. Modern Art and California's Progressive Legacies -- $tChapter Four. From an Era of Grand Ambitions -- $tChapter Five. Becoming Postmodern -- $tChapter Six. California Assemblage Art as Counterhistory -- $tChapter Seven. Learning from the Watts Towers -- $tChapter Eight. Contemporary Art Along the U.S.-Mexican Border -- $tConclusion. Improvising from the Margins -- $tNotes -- $tIndex -- $tAcknowledgments 330 $aIn 1921 Sam Rodia, an Italian laborer and tile setter, started work on an elaborate assemblage in the backyard of his home in Watts, California. The result was an iconic structure now known as the Watts Towers. Rodia created a work that was original, even though the resources available to support his project were virtually nonexistent. Each of his limitations-whether of materials, real estate, finances, or his own education-passed through his creative imagination to become a positive element in his work. In The Modern Moves West, accomplished cultural historian Richard Cándida Smith contends that the Watts Towers provided a model to succeeding California artists that was no longer defined through a subordinate relationship to the artistic capitals of New York and Paris.Tracing the development of abstract painting, assemblage art, and efforts to build new arts institutions, Cándida Smith lays bare the tensions between the democratic and professional sides of modern and contemporary art as California developed a distinct regional cultural life. Men and women from groups long alienated-if not forcibly excluded-from the worlds of "high culture" made their way in, staking out their participation with images and objects that responded to particular circumstances as well as dilemmas of contemporary life, in the process changing the public for whom art was made. Beginning with the emergence of modern art in nineteenth-century France and its influence on young Westerners and continuing through to today's burgeoning border art movement along the U.S.-Mexican frontier, The Modern Moves West dramatically illustrates the paths that California artists took toward a more diverse and inclusive culture. 410 0$aArts and intellectual life in modern America. 606 $aArt and society$zCalifornia$xHistory$y20th century 606 $aArt, American$zCalifornia$y20th century 610 $aAmerican History. 610 $aAmerican Studies. 610 $aArchitecture. 610 $aFine Art. 610 $aGarden History. 615 0$aArt and society$xHistory 615 0$aArt, American 676 $a700.9794/0904 700 $aCa?ndida Smith$b Richard$0950348 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910824388003321 996 $aThe modern moves west$94082507 997 $aUNINA