In homage to America’s National Parks and their iconic art posters, this volume features new artwork for seventy-five parks and monuments across all fifty states. “In this sepia-tinged homage” to the iconic National Parks posters “modern artists contribute dazzling new graphics” (Entertainment Weekly). From 1935 to 1943, the WPA’s Federal Art Project hired American artist to create posters celebrating the National Parks Service. The icon See America posters inspired Americans to fall in love with the country’s landmarks and wild spaces from the Golden Gate Bridge to the Gateway Arch and from the Grand Canyon to the Great Smokey Mountains. Originally published to coincide with the centennial anniversary of the National Parks Service, the Creative Action Network has partnered with the National Parks Conservation Association to revive and reimagine the legacy of WPA travel posters. Artists from all over the world participated in the creation of this new, crowdsourced collection of See America posters for a modern era.

A stunning, full-color volume that examines 82 pieces in the University of Rochester Memorial Art Gallery's American collection and their connections to American history, culture, literature, and politics. Seeing America is the first-ever catalog of the University of Rochester Memorial Art Gallery's American collection. Founded in 1913, the Memorial Art Gallery was created in conjunction with the University of Rochester so that it would function within a scholarly milieu, yet at the same time perform service as a community museum. From its conception it has been an ardent advocate for American art, which so many counterpart institutions snubbed untilat least the 1930s, and more often until well after World War II, in favor of European and Asian art. The 336-page, full-color volume examines 82 objects and their connections to American history, culture, literature and politics. The 73 articles present a running commentary on each piece by knowledgeable and thoughtful contemporary scholars and artists writing with expertise and insight, ultimately presenting a new and deeper understanding that enhances the reader/viewer's appreciation of the work. The tour ranges from Colonial times to the twenty-first century, from Maine to Florida to the far West, from mighty historical subjects to intimate byways, from august figures and events to the humblest and most anonymous. The diversity of American experience on display here reminds us that the best American art is inextricably bound up with the essential truths of American experience.

In this fiercely urgent book, Matthew Pratt Guterl focuses on how and why we come to see race in very particular ways. What does it mean to see someone as a color? As racially mixed or ethnically ambiguous? What history makes such things possible? Drawing creatively from advertisements, YouTube videos, and everything in between, Guterl redirects our understanding of racial sight away from the dominant categories of color--away from brown and yellow and black and white--and instead insists that we confront the visual practices that make those same categories seem so irrefutably important. Zooming out for the bigger picture, Guterl illuminates the long history of the practice of seeing--and believing in--race, and reveals that our troublesome faith in the details discerned by the discriminating glance is widespread and very popular. In so doing, he upends the possibility of a postracial society by revealing how deeply race is embedded in our culture, with implications that are often matters of life and death.

Representing dancers, scholars, admirers, and critics, I See America Dancing is a diverse collection of primary documents and articles about the place and shape of dance in the United States from colonial times to the present. This volume offers a lively counterpoint between observers of the dance and dancers' views of what they do when they dance. Dance traditions represented include the Native American pow-wow; tribal music and dance activities on Sunday afternoons in New Orlean's Congo Square; the colonial Playford Balls and their modern offspring, country line dancing; and the Buddhist-inspired Japanese Bon dances in Hawaii. Anti-dance perspectives include government injunctions against Native American dancing and essays from a range of speakers who have declared the waltz, the twist, or the senior prom to be a careless quick-step away from hell or the brothel. I See America Dancing examines the styles that have marked theatrical dance in America, from French ballet to minstrel shows, and presents the views of influential dancers, choreographers, and the pioneers of early modern dance in America. Specific pieces examined include George Ballanchine's ballet Stars and Stripes, Yvonne Rainer's protest piece "Flag Dance, 1970," and Sonjé Mayo's "Naked in America." Covering historical social attitudes toward the dance as well as the performers and their works, I See America Dancing is a comprehensive, scholarly sourcebook that captures the energy and passion of this vital artform.

Also published in French as Visages de la Silicon Valley.

FOREWORD INDIES FINALIST — POLITICAL & SOCIAL SCIENCES NAUTILUS BOOK AWARDS SILVER MEDALIST — SOCIAL CHANGE & SOCIAL JUSTICE ERIC HOFFER BOOK AWARD 1ST RUNNER UP — CULTURE & MONTAIGNE MEDAL NOMINEE "A valuable resource in the fight against poverty." —Publishers Weekly "An exploration of why so many Americans are struggling financially . . . A down-to-earth overview of the causes and effects of poverty and possible remedies." —Kirkus Reviews Water. Food. Housing. The most basic and crucial needs for survival, yet 40 percent of people in the United States don't have the resources to get them. With key policy changes, we could eradicate poverty in this country within our lifetime—but we need to get started now. Nearly 40 million people in the United States live below the poverty line—about $26,200 for a family of four. Low-income families and individuals are everywhere, from cities to rural communities. While poverty is commonly seen as a personal failure, or a deficiency of character or knowledge, it's actually the result of bad policy. Public policy has purposefully erected barriers that deny access to basic needs, creating a society where people can easily become trapped—not because we lack the resources to lift them out, but because we are actively choosing not to. Poverty is close to inevitable for low-wage workers and their children, and a large percentage of these people, despite qualifying for it, do not receive government aid. From Joanne Samuel Goldblum and Colleen Shaddox, Broke in America offers an eye-opening and galvanizing look at life in poverty in this country: how circumstances and public policy conspire to keep people poor, and the concrete steps we can take to end poverty for good. In clear, accessible prose, Goldblum and Shaddox detail the ways the current system is broken and how it's failing so many of us. They also highlight outdated and ineffective policies that are causing or contributing to this unnecessary problem. Every chapter features action items readers can use to combat poverty—both nationwide and in our local communities, including the most effective public policies you can support and how to work hand-in-hand with representatives to affect change. So far, our attempted solutions have fallen short because they try to "fix" poor people rather than address the underlying problems. Fortunately, it's much easier to fix policy than people. Essential and timely, Broke in America offers a crucial road map for securing a brighter future.

The American sculptor, painter, draftsman, and printmaker H.C. Westermann (1922-1981) was a central figure in American art, lauded as an American original who steadfastly followed his own finely crafted and keenly ironic sensibilities. Published in conjunction with the David and Alfred Smart Museum's "See America First" exhibit, this book presents the first comprehensive, scholarly consideration of Westermann's graphic work and serves as a catalogue raisonné of his prints: 100 large-format color images and 20 black and white illustrations are accompanied by detailed entries containing key historical information on Westermann's art. Critic, curator, and art historian Dennis Adrian contributes an overview essay examining Westermann's body of work. "See America First" will be exhibited at the David and Alfred Smart Museum of Art from June 30 to September 23, 2001.

In See America First, Marguerite Shaffer chronicles the birth of modern American tourism between 1880 and 1940, linking tourism to the simultaneous growth of national transportation systems, print media, a national market, and a middle class with money and time to spend on leisure. Focusing on the See America First slogan and idea employed at different times by railroads, guidebook publishers, Western boosters, and Good Roads advocates, she describes both the modern marketing strategies used to promote tourism and the messages of patriotism and loyalty embedded in the tourist experience. She shows how tourists as consumers participated in the search for a national identity that could assuage their anxieties about American society and culture. Generously illustrated with images from advertisements, guidebooks, and travelogues, See America First demonstrates that the promotion of tourist landscapes and the consumption of tourist experiences were central to the development of an American identity.

Created in 1937 by Interior Secretary Harold Ickes and given formal status by Congress in 1940, the US Travel Bureau played a seminal role by setting the precedent for federal involvement in tourism. Business, otherwise hostile to FDR's New Deal, enthusiastically supported its work and Roosevelt, who significantly expanded the National Park system, saw increased tourism as a means to increase attendance, bolster economic activity, and counteract the Great Depression. The Bureau developed unusually extensive public relations and marketing programs that attempted to persuade citizens to travel more. The Travel Bureau also quietly engaged in vigorous marketing to encourage African Americans to travel, including sponsoring the 1940 and 1941 editions of the Green Book, the travel guide for African Americans facing segregated restaurants and lodging. Eventually, travel promotion was transferred to the Commerce Department by Congress and President Nixon with a federal surtax to fund it and where it continues today.