{"title":"The Arts And Intellectual Life In Modern America","description":"\u003cp\u003eDelve into the vibrant tapestry of American arts and thought. This series explores the key figures, movements, and debates that shaped modern America's cultural landscape. A must-read for history and culture enthusiasts.\u003c\/p\u003e","products":[{"product_id":"do-museums-still-need-objects-book-steven-conn-9780812221558","title":"Do Museums Still Need Objects?","description":"In this broadly conceived study Steven Conn examines the development of American museums across the twentieth century with a historian's attention and a critic's eye. 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But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis, taking as its example the impact of 1960s free improvisation on the changing status of jazz.    By examining the production, presentation, and reception of experimental music by Ornette Coleman, Cecil Taylor, John Coltrane, and others, Iain Anderson traces the strange, unexpected, and at times deeply ironic intersections between free jazz, avant-garde artistic movements, Sixties politics, and patronage networks. Anderson emphasizes free improvisation's enormous impact on jazz music's institutional standing, despite ongoing resistance from some of its biggest beneficiaries. He concludes that attempts by African American artists and intellectuals to define a place for themselves in American life, structural changes in the music industry, and the rise of nonprofit sponsorship portended a significant transformation of established cultural standards. At the same time, free improvisation's growing prestige depended in part upon traditional highbrow criteria: increasingly esoteric styles, changing venues and audience behavior, European sanction, withdrawal from the marketplace, and the professionalization of criticism. 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Becoming Jane Jacobs is an intellectual biography that chronicles Jacobs's development, influences, and writing career, and provides a new foundation for understanding Death and Life and her subsequent books. Laurence explains how Jacobs's ideas developed over many decades and how she was influenced by members of the traditions she was critiquing, including Architectural Forum editor Douglas Haskell, shopping mall designer Victor Gruen, housing advocate Catherine Bauer, architect Louis Kahn, Philadelphia city planner Edmund Bacon, urban historian Lewis Mumford, and the British writers at The Architectural Review. 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Joan Saab discerns a broad-based democratic modernism inspired by and engaged with the social life of the period.  In the summer of 1935 President Franklin Delano Roosevelt established the Federal Arts Project under the aegis of the Works Progress Administration. The project's goal was, in the words of its director Holger Cahill, to \"get people all over the United States interested in art as an everyday part of living and working.\" In addition to this endeavor, the project would also provide work for artists who, as a project press release stated, \"had been hit just as hard by unemployment as any other producing worker.\" Meanwhile, as director of the newly opened Museum of Modern Art, Alfred Barr was instituting his philosophy of \"democracy in design\" through a series of ambitious exhibits that focused on informed consumption in the marketplace.  The idea of treating the artist as a \"producing worker\" and art as an \"everyday part of living and working\" was a novel one in 1935 and illustrated a broad shift in the social roles of both. Prior to the 1930s, art in America had resided principally in the domain of the cultural elite. The upheaval of the Depression era, however, challenged this authority. Throughout the decade, government officials, museum professionals, educators, and artists worked together to determine not only what role artists would play in society but also what forms democratic art would take and how widely it would be disseminated, thus fundamentally redefining the relationship between art and society. 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