A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Early in the twenty-first century, Louisiana, one of the poorest states in the United States, redirected millions in tax dollars from the public coffers in an effort to become the top location site globally for the production of Hollywood films and television series. Why would lawmakers support such a policy? Why would citizens accept the policy’s uncomfortable effects on their economy and culture? Almost Hollywood, Nearly New Orleans addresses these questions through a study of the local and everyday experiences of the film economy in New Orleans, Louisiana—a city that has twice pursued the goal of becoming a movie production capital. From the silent era to today’s Hollywood South, Vicki Mayer explains that the aura of a film economy is inseparable from a prevailing sense of home, even as it changes that place irrevocably.
Award-winning author, curator, and activist Lucy R. Lippard is one of America’s most influential writers on contemporary art, a pioneer in the fields of cultural geography, conceptualism, and feminist art. Hailed for "the breadth of her reading and the comprehensiveness with which she considers the things that define place" (The New York Times), Lippard now turns her keen eye to the politics of land use and art in an evolving New West. Working from her own lived experience in a New Mexico village and inspired by gravel pits in the landscape, Lippard weaves a number of fascinating themes—among them fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water—into a tapestry that illuminates the relationship between culture and the land. From threatened Native American sacred sites to the history of uranium mining, she offers a skeptical examination of the "subterranean economy." Featuring more than two hundred gorgeous color images, Undermining is a must-read for anyone eager to explore a new way of understanding the relationship between art and place in a rapidly shifting society.
Winner of the Merle Curti Award in Intellectual History, Organization of American Historians Co-Winner of the Society for U.S. Intellectual History Book Award Thinking Small tells the story of how the United States sought to rescue the world from poverty through small-scale, community-based approaches. And it also sounds a warning: such strategies, now again in vogue, have been tried before, with often disastrous consequences. “Unfortunately, far from eliminating deprivation and attacking the social status quo, bottom-up community development projects often reinforced them...This is a history with real stakes. If that prior campaign’s record is as checkered as Thinking Small argues, then its intellectual descendants must do some serious rethinking... How might those in twenty-first-century development and anti-poverty work forge a better path? They can start by reading Thinking Small.” —Merlin Chowkwanyun, Boston Review “As the historian Daniel Immerwahr demonstrates brilliantly in Thinking Small, the history of development has seen constant experimentation with community-based and participatory approaches to economic and social improvement...Immerwahr’s account of these failures should give pause to those who insist that going small is always better than going big.” —Jamie Martin, The Nation
An eclectic mix of art, theatre, dance, politics, experimentation, and ritual, community-based performance has become an increasingly popular art movement in the United States. Forged by the collaborative efforts of professional artists and local residents, this unique field brings performance together with a range of political, cultural, and social projects, such as community-organizing, cultural self-representation, and education. Local Acts presents a long-overdue survey of community-based performance from its early roots, through its flourishing during the politically-turbulent 1960s, to present-day popular culture. Drawing on nine case studies, including groups such as the African American Junebug Productions, the Appalachian Roadside Theater, and the Puerto Rican Teatro Pregones, Jan Cohen-Cruz provides detailed descriptions of performances and processes, first-person stories, and analysis. She shows how the ritual side of these endeavors reinforces a sense of community identification while the aesthetic side enables local residents to transgress cultural norms, to question group habits, and to incorporate a level of craft that makes the work accessible to individuals beyond any one community. The book concludes by exploring how community-based performance transcends even national boundaries, connecting the local United States with international theater and cultural movements.
Examines the work of contemporary Latino, Native America, African-American, and Asian-American artists, discussing how their art demonstrates the ways in which the various cultures see themselves and others.
The author reveals a continuum in materials, forms, symbols and imagery artists have employed over 1000s of years. She shows how contemporary art and prehistoric images are linked, with images of past times being 'overlaid' onto works of today's artists.
From bestselling author Lynne Ewing comes a gritty, sexy novel perfect for fans of books like Perfect Chemistry—about a teen forced to become a "lure," a beautiful girl used by her street gang to seduce and entrap rival gang members. The Lure tells the story of fifteen-year-old Blaise Montgomery, who lives on the dangerous outskirts of Washington, DC, where a stray bullet can steal a life on the way to school and death lurks around every corner. Drugs and violence are the only ways to survive, so Blaise and her friends turn to gangs for safety, money, and love. And when Blaise is accepted into one of the toughest gangs in the city, she's finally part of a crew. A family. But as Blaise is put in increasingly dangerous situations, particularly as her gang's newest lure, she begins to see there's more to lose than she ever realized. Should Blaise continue to follow the only path she's ever known, or cut and run?
In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period.