Art in California

Description

An introduction to the rich and diverse art of California, this book highlights its distinctive role in the history of American art, from early-20th-century photography to Chicanx mural painting, the Fiber Art Movement and beyond. Shaped by a compelling network of geopolitical influences including waves of migration and exchange from the Pacific Rim and Mexico, the influx of African Americans immediately after World War II, and global immigration after quotas were lifted in the 1960s, California is a centre of artistic activity whose influence extends far beyond its physical boundaries. Furthermore, California was at the forefront of radical developments in artistic culture, most notably conceptual art and feminism, and its education system continues to nurture and encourage avant-garde creativity. Organized chronologically and thematically with illustrations throughout, this attractive study stands as an important reassessment of California's contribution to modern and contemporary art in the United States and globally. With 168 illustrations in colour

Jenni Sorkin is Associate Professor of History of Art & Architecture at the University of California, Santa Barbara. She writes on the intersections between gender, material culture and contemporary art, working primarily on women artists and under-represented media. Her publications include Live Form: Women, Ceramics and Community, Revolution in the Making: Abstract Sculpture by Women Artists, 1947-2016 and numerous essays in journals and exhibition catalogues. She was educated at The School of the Art Institute of Chicago, Bard College, and received her PhD from Yale University. She is a member of the Editorial Board of the Journal of Modern Craft.

A much-needed survey of the history of visual art in California from the early 20th century to the present... Manage[s] to lucidly layer the sociopolitical, geographic, institutional, and cultural concerns of the moment... Sorkin's survey is an unprecedented example of inclusivity, consistently foregrounding craftspeople, artist-educators, women, queer artists, and artists of color -- while reiterating that for most of the period covered by this book, opportunity in the art world (in California as elsewhere) was restricted to white, heterosexual men. Her approach is refreshingly nonhierarchical: she gives nearly every artist mentioned roughly the same amount space, regardless of their art-world status.-- "Hyperallergic"