An Economy Of Abundant Beauty

"We have made a breakthrough from an economy of scarcity to an economy of abundance," Henry Luce noted more than twenty years after founding Fortune magazine. "Can we make the breakthrough from an economy of abundance to an economy of abundant beauty?" Michael Augspurger's attractively illustrated book examines Fortune's surprising role in American struggles over artistic and cultural authority during the Depression and the Second World War. The elegantly designed magazine, launched in the first months of the Depression, was not narrowly concerned with moneymaking and finance. Indeed the magazine displayed a remarkable interest in art, national culture, and the "literature of business." Fortune's investment in art was not simply an attempt to increase the social status of business. It was, Augspurger argues, an expression of the editors' sincere desire to develop a moral capitalism. Optimistically believing that the United States had entered a new economic era, the liberal business minds behind Fortune demanded that material progress be translated into widespread leisure and artistic growth. A thriving national culture, the magazine believed, was as crucial a sign of economic success as material abundance and technological progress. But even as the "enlightened" business ideology of Fortune grew into the economic common sense of the 1950s, the author maintains, the magazine's cultural ideals struggled with and eventually succumbed to the professional criticism of the postwar era.

The Pulitzer Prize-winning reporter details “how the U.S. business press could miss the most important economic implosion of the past eighty years” (Eric Alterman, media columnist for The Nation). In this sweeping, incisive post-mortem, Dean Starkman exposes the critical shortcomings that softened coverage in the business press during the mortgage era and the years leading up to the financial collapse of 2008. He examines the deep cultural and structural shifts—some unavoidable, some self-inflicted—that eroded journalism’s appetite for its role as watchdog. The result was a deafening silence about systemic corruption in the financial industry. Tragically, this silence grew only more profound as the mortgage madness reached its terrible apogee from 2004 through 2006. Starkman frames his analysis in a broad argument about journalism itself, dividing the profession into two competing approaches—access reporting and accountability reporting—which rely on entirely different sources and produce radically different representations of reality. As Starkman explains, access journalism came to dominate business reporting in the 1990s, a process he calls “CNBCization,” and rather than examining risky, even corrupt, corporate behavior, mainstream reporters focused on profiling executives and informing investors. Starkman concludes with a critique of the digital-news ideology and corporate influence, which threaten to further undermine investigative reporting, and he shows how financial coverage, and journalism as a whole, can reclaim its bite. “Can stand as a potentially enduring case study of what went wrong and why.”—Alec Klein, national bestselling author of Aftermath “With detailed statistics, Starkman provides keen analysis of how the media failed in its mission at a crucial time for the U.S. economy.”—Booklist

“An extraordinary work of intellectual history as well as a scholarly tour de force, a bracing polemic, and a work of Christian prophecy...McCarraher challenges more than 200 years of post-Enlightenment assumptions about the way we live and work.” —The Observer At least since Max Weber, capitalism has been understood as part of the “disenchantment” of the world, stripping material objects and social relations of their mystery and magic. In this magisterial work, Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether one is prepared to acknowledge it or not. First flowering in the fields and factories of England and brought to America by Puritans and evangelicals, whose doctrine made ample room for industry and profit, capitalism has become so thoroughly enmeshed in the fabric of our society that our faith in “the market” has become sacrosanct. Informed by cultural history and theology as well as management theory, The Enchantments of Mammon looks to nineteenth-century Romantics, whose vision of labor combined reason, creativity, and mutual aid, for salvation. In this impassioned challenge to some of our most firmly held assumptions, McCarraher argues that capitalism has hijacked our intrinsic longing for divinity—and urges us to break its hold on our souls. “A majestic achievement...It is a work of great moral and spiritual intelligence, and one that invites contemplation about things we can’t afford not to care about deeply.” —Commonweal “More brilliant, more capacious, and more entertaining, page by page, than his most ardent fans dared hope. The magnitude of his accomplishment—an account of American capitalism as a religion...will stun even skeptical readers.” —Christian Century

In February 1941, Henry Luce announced the arrival of “The American Century.” But that century—extending from World War II to the recent economic collapse—has now ended, victim of strategic miscalculation, military misadventures, and economic decline. Here some of America’s most distinguished historians place the century in historical perspective.

Acclaimed historian Alan Brinkley gives us a sharply realized portrait of Henry Luce, arguably the most important publisher of the twentieth century. As the founder of Time, Fortune, and Life magazines, Luce changed the way we consume news and the way we understand our world. Born the son of missionaries, Henry Luce spent his childhood in rural China, yet he glimpsed a milieu of power altogether different at Hotchkiss and later at Yale. While working at a Baltimore newspaper, he and Brit Hadden conceived the idea of Time: a “news-magazine” that would condense the week’s events in a format accessible to increasingly busy members of the middle class. They launched it in 1923, and young Luce quickly became a publishing titan. In 1936, after Time’s unexpected success—and Hadden’s early death—Luce published the first issue of Life, to which millions soon subscribed. Brinkley shows how Luce reinvented the magazine industry in just a decade. The appeal of Life seemingly cut across the lines of race, class, and gender. Luce himself wielded influence hitherto unknown among journalists. By the early 1940s, he had come to see his magazines as vehicles to advocate for America’s involvement in the escalating international crisis, in the process popularizing the phrase “World War II.” In spite of Luce’s great success, happiness eluded him. His second marriage—to the glamorous playwright, politician, and diplomat Clare Boothe—was a shambles. Luce spent his later years in isolation, consumed at times with conspiracy theories and peculiar vendettas. The Publisher tells a great American story of spectacular achievement—yet it never loses sight of the public and private costs at which that achievement came.

This interdisciplinary collection of case studies rethinks corporate patronage in the United States and reveals the central role corporations have played in shaping American culture. This volume offers new methodologies and models for the subject of corporate patronage, and contains an extensive bibliography on corporate patronage, art collections and exhibitions, sponsorship, and philanthropy in the United States. The case studies herein go beyond the usual focus on corporate sponsorship and collecting to explore the complex organizational networks and motivations behind corporate commissions. Featuring chapters on Margaret Bourke-White, Julie Mehretu, Maxfield Parrish, Pablo Picasso, Diego Rivera, Eugene Savage, Millard Sheets, and Kehinde Wiley, as well as studies on Andrew Carnegie, Andrew Mellon, John D. Rockefeller Sr. and Jr., and Dorothy Shaver, and companies such as Herman Miller and Lord and Taylor, this volume looks at a wide array of works, ranging from sculpture, photography, mosaics, and murals to advertisements, department store displays, sportswear, medical schools, and public libraries.

Norman Bel Geddes has long been considered the 'founder' of American industrial design. During his long career he worked on everything from theatre design, world fairs and cars to houses and product and packaging design. Nicolas P. Maffei's magisterial biography draws on original material from the archive at the Harry Ransom Center, University of Texas at Austin, and places Bel Geddes' work within the fast-changing cultural and intellectual contexts of his time. Maffei shows how Bel Geddes' futuristic but pragmatic style – his notion of 'practical vision' – was central to his work, and highly influential on the professional practice of American industrial design in general.

Scholarly engagement with the magazine form has, in the last two decades, produced a substantial amount of valuable research. Authored by leading academic authorities in the study of magazines, the chapters in The Routledge Handbook of Magazine Research not only create an architecture to organize and archive the developing field of magazine research, but also suggest new avenues of future investigation. Each of 33 chapters surveys the last 20 years of scholarship in its subject area, identifying the major research themes, theoretical developments and interpretive breakthroughs. Exploration of the digital challenges and opportunities which currently face the magazine world are woven throughout, offering readers a deeper understanding of the magazine form, as well as of the sociocultural realities it both mirrors and influences. The book includes six sections: -Methodologies and structures presents theories and models for magazine research in an evolving, global context. -Magazine publishing: the people and the work introduces the roles and practices of those involved in the editorial and business sides of magazine publishing. -Magazines as textual communication surveys the field of contemporary magazines across a range of theoretical perspectives, subjects, genre and format questions. -Magazines as visual communication explores cover design, photography, illustrations and interactivity. -Pedagogical and curricular perspectives offers insights on undergraduate and graduate teaching topics in magazine research. -The future of the magazine form speculates on the changing nature of magazine research via its environmental effects, audience, and transforming platforms.