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In addition to offering comprehensive coverage of the canon, Frances K. Pohl's narrative goes beyond the traditional, and sometimes derogatory, treatment of certain populations in American society and addresses the domestic arts and the social and political contexts of art.\u003c\/p\u003e \u003cp\u003eThe fourth edition is presented for the first time in two volumes. It will be sold as individual volumes as well as a packaged set containing both. The book is split in order to offer greater portability to students and to appeal to a greater number of courses. For example, instructors teaching a course on American art since 1900 or American art since 1945 can now assign the single, briefer volume that relates most directly to their course. New pedagogy also makes the book more accessible: artfully designed timelines open each part, situating important events in American history more accurately and while showing how they relate to art. 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Blacklisted by CBS during the McCarthy era and yet, ironically, incorporated into presidential campaigns of truth aimed at improving the U.S. image abroad, Ben Shahn is a pivotal figure, revealing the complexities and contradictions inherent in this highly polarized moment in American history. In this pathbreaking study, Frances Pohl traces the political and artistic struggles Ben Shahn became embroiled in as he tried to remain a socially concerned artist during the early Cold War period. She shows how he rejected the argument, voiced by many Abstract Expressionists, that art and politics should not mix, yet at the same time searched for a way to depict, in universal and allegorical terms, the broad human condition rather than simply specific instances of injustice. 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