See America

In homage to America’s National Parks and their iconic art posters, this volume features new artwork for seventy-five parks and monuments across all fifty states. “In this sepia-tinged homage” to the iconic National Parks posters “modern artists contribute dazzling new graphics” (Entertainment Weekly). From 1935 to 1943, the WPA’s Federal Art Project hired American artist to create posters celebrating the National Parks Service. The icon See America posters inspired Americans to fall in love with the country’s landmarks and wild spaces from the Golden Gate Bridge to the Gateway Arch and from the Grand Canyon to the Great Smokey Mountains. Originally published to coincide with the centennial anniversary of the National Parks Service, the Creative Action Network has partnered with the National Parks Conservation Association to revive and reimagine the legacy of WPA travel posters. Artists from all over the world participated in the creation of this new, crowdsourced collection of See America posters for a modern era.

Created in 1937 by Interior Secretary Harold Ickes and given formal status by Congress in 1940, the US Travel Bureau played a seminal role by setting the precedent for federal involvement in tourism. Business, otherwise hostile to FDR's New Deal, enthusiastically supported its work and Roosevelt, who significantly expanded the National Park system, saw increased tourism as a means to increase attendance, bolster economic activity, and counteract the Great Depression. The Bureau developed unusually extensive public relations and marketing programs that attempted to persuade citizens to travel more. The Travel Bureau also quietly engaged in vigorous marketing to encourage African Americans to travel, including sponsoring the 1940 and 1941 editions of the Green Book, the travel guide for African Americans facing segregated restaurants and lodging. Eventually, travel promotion was transferred to the Commerce Department by Congress and President Nixon with a federal surtax to fund it and where it continues today.

In See America First, Marguerite Shaffer chronicles the birth of modern American tourism between 1880 and 1940, linking tourism to the simultaneous growth of national transportation systems, print media, a national market, and a middle class with money and time to spend on leisure. Focusing on the See America First slogan and idea employed at different times by railroads, guidebook publishers, Western boosters, and Good Roads advocates, she describes both the modern marketing strategies used to promote tourism and the messages of patriotism and loyalty embedded in the tourist experience. She shows how tourists as consumers participated in the search for a national identity that could assuage their anxieties about American society and culture. Generously illustrated with images from advertisements, guidebooks, and travelogues, See America First demonstrates that the promotion of tourist landscapes and the consumption of tourist experiences were central to the development of an American identity.

Representing dancers, scholars, admirers, and critics, I See America Dancing is a diverse collection of primary documents and articles about the place and shape of dance in the United States from colonial times to the present. This volume offers a lively counterpoint between observers of the dance and dancers' views of what they do when they dance. Dance traditions represented include the Native American pow-wow; tribal music and dance activities on Sunday afternoons in New Orlean's Congo Square; the colonial Playford Balls and their modern offspring, country line dancing; and the Buddhist-inspired Japanese Bon dances in Hawaii. Anti-dance perspectives include government injunctions against Native American dancing and essays from a range of speakers who have declared the waltz, the twist, or the senior prom to be a careless quick-step away from hell or the brothel. I See America Dancing examines the styles that have marked theatrical dance in America, from French ballet to minstrel shows, and presents the views of influential dancers, choreographers, and the pioneers of early modern dance in America. Specific pieces examined include George Ballanchine's ballet Stars and Stripes, Yvonne Rainer's protest piece "Flag Dance, 1970," and Sonjé Mayo's "Naked in America." Covering historical social attitudes toward the dance as well as the performers and their works, I See America Dancing is a comprehensive, scholarly sourcebook that captures the energy and passion of this vital artform.

Missouri, 1910. John Hartmann is graduating from high school under the critical eye of his father and has no idea what options lie beyond the family farm and his small town. When Paul Bricken, nineteen and blind, buys a brand-new Ford Model T and suggests John drive him to Yellowstone National Park, John jumps at the chance. He’s less enthusiastic about inviting Henry Brotherton, who’s loud, crude, and a bigot—but Henry’s available both as a second driver and a tough guy who might be helpful in a tight spot. As the three young men set off on their tumultuous journey, America is preparing for the fight of the century between Jack Johnson and Jim Jeffries—and is headed for its biggest racial upheaval since the Civil War. With Yellowstone drawing ever closer and tensions rising, Paul, John, and Henry will soon learn there is a great deal they didn’t know about the fledgling American Midwest—or about each other.

At a moment of cultural and political crisis, with forces of reaction seemingly ascendant throughout the West, it's fair to ask what use does anyone have for America, God, or any other similar fictions? What use does theological language have for the radical facing the apocalypse? Among the subjects considered: the need for an Augustinian left, legacies of American violence, speaking in tongues, the humanities facing climate change, the maturity of realizing that you will die, how to sail towards Utopia, and witches. 'Ed Simon’s essays help readers to understand how we got to this complicated moment in American religious history. Deft, thoughtful, and creatively told.' Kaya Oakes, author of Slanted and Enchanted: The Evolution of Indie Culture

A native Briton describes America and its citizens through his English eyes, humorously questioning their choices in bumper stickers, use of adjectives and superlatives and their overall lack of appreciation for the teapot.

The American sculptor, painter, draftsman, and printmaker H.C. Westermann (1922-1981) was a central figure in American art, lauded as an American original who steadfastly followed his own finely crafted and keenly ironic sensibilities. Published in conjunction with the David and Alfred Smart Museum's "See America First" exhibit, this book presents the first comprehensive, scholarly consideration of Westermann's graphic work and serves as a catalogue raisonné of his prints: 100 large-format color images and 20 black and white illustrations are accompanied by detailed entries containing key historical information on Westermann's art. Critic, curator, and art historian Dennis Adrian contributes an overview essay examining Westermann's body of work. "See America First" will be exhibited at the David and Alfred Smart Museum of Art from June 30 to September 23, 2001.