On the Edge of America |
PREFACE |
INTRODUCTION |
![]() | PART I THE REGIONAL IMAGINATION |
• | The Elusive Quest of the Moderns |
![]() | Painting Under the Shadow: California Modernism and the Second World War |
• | Politics and Modernism: The Trial of the Rincon Annex Murals |
![]() | PART 2 SOURCES AND TRADITIONS |
• | The Impact from Abroad: Foreign Guests and Visitors |
• | Mexican Art and Los Angeles, 1920-1940 |
![]() | PART 3 EXPRESSING A CULTURAL IDENTITY |
• | Wood Studs, Stucco, and Concrete: Native and Imported Images |
• | Early Modernism in Southern California: Provincialism or Eccentricity? |
![]() | Journey Into the Sun: California Artists and Surrealism |
• | Post-Surrealism and the Flux: Lorser Feitelson, Helen Lundeberg, and Knud Merrild |
• | "DADA of Us All": Man Ray in Hollywood |
• | Journey into the Body: The Art of Charles Howard |
• | Isle of Possibility: Gordon Onslow-Ford and the Dynaton |
• | Conclusions and Consequences of Surrealism |
• | Visual Music and Film-As-An-Art Before 1950 |
![]() | Modernist Photography and the Group f.64 |
APPENDIX: A CHRONOLOGY OF INSTITUTIONS, EVENTS, AND INDIVIDUALS |
![]() | Notes |
![]() | INDEX |