Kirjahaku

Throughout the Great Recession American artists and public art endowments have had to fight for government support to keep themselves afloat. It wasn't always this way. At its height in 1935, the New Deal devoted $27 million - roughly $469 million today - to supporting tens of thousands of needy artists, who used that support to create more than 100,000 works. Why did the government become so involved with these artists, and why weren't these projects considered a frivolous waste of funds, as surely many would be today? In Democratic Art, Sharon Ann Musher explores these questions and uses them as a springboard for an examination of the role art can and should play in contemporary society. Drawing on close readings of government-funded architecture, murals, plays, writing, and photographs, Democratic Art examines the New Deal's diverse cultural initiatives and outlines five perspectives on art that were prominent at the time: art as grandeur, enrichment, weapon, experience, and subversion. Musher argues that those engaged in New Deal art were part of an explicitly cultural agenda that sought not just to create art but to democratize and Americanize it as well. By tracing a range of aesthetic visions that flourished during the 1930s, this highly original book outlines the successes, shortcomings, and lessons of the golden age of government funding for the arts.

How adventurous Jewish women's travels upended Jewish norms In 1922, Rabbi Mordecai Kaplan, the founder of Reconstructionist Judaism, first initiated the bat mitzvah as a rite-of-passage for Jewish girls. Characterized as a lifelong supporter of women's rights, Kaplan's family, including his wife and four daughters, played a role in shaping his ideas about women, culture, and Zionism. This was especially true of his second daughter, Hadassah Kaplan, who joined a small but influential cohort of American Jewish women who studied, worked, and volunteered in British Mandate Palestine. Promised Lands provides a window into the lives of American Jewish women in both New York City's Upper West Side and Palestine during the interwar period. By tracing Hadassah's journey, the volume offers a sense of what drew this generation of adventurous women to Palestine, and helps us to understand their impact on American Jewry. Drawing on a rich personal archive of diary entries, photographs, and letters, Sharon Ann Musher displays how unconventional women like Hadassah Kaplan were able to challenge cultural norms and experiment with ideological commitments while still remaining "good" daughters, wives, and mothers. Their knowledge and experience in volunteering, philanthropy, and education within the United States helped them to build Jewish institutions and communities abroad, and to center Zionism in American Jewish education, institutions, and identity. Crafting a compelling portrait of an influential Jewish woman, Promised Lands showcases the legacy of Hadassah Kaplan and her fellow travelers on American Jewish life.