Conflict, Identity, and Protest in American Art Conflict, Identity, and Protest in American Art Edited by Miguel de Baca and Makeda Best Conflict, Identity, and Protest in American Art Edited by Miguel de Baca and Makeda Best This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Miguel de Baca, Makeda Best and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8375-1 ISBN (13): 978-1-4438-8375-7 TABLE OF CONTENTS List of Illustrations .................................................................................... vii Introduction .............................................................................................. xiii Chapter One ................................................................................................. 1 Crossing the Lines: Romaine Brooks and the War to End All Wars Tirza True Latimer Chapter Two .............................................................................................. 15 A Brave New Industry: Liberalism and Design at the Think American Institute, 1939–43 Jill Bugajski Chapter Three ............................................................................................ 35 Camouflage, 1942: Artists, Architects, and Designers at Fort Belvoir, Virginia John R. Blakinger Chapter Four .............................................................................................. 57 Shock-Photo: The War Images of Rosler, Spero, and Celmins Frances Jacobus-Parker Chapter Five .............................................................................................. 75 From “Free Speech” to “Free Huey”: Visual Ephemera and the Collaboration of Black Power with White Resistance Jo-Ann Morgan Chapter Six ................................................................................................ 99 Catholic Art and Activism in Postwar Los Angeles Kristen Gaylord Chapter Seven .......................................................................................... 121 Art Against the World: Collaborative Antagonism in 1970s Los Angeles Rebecca Lowery vi Table of Contents Chapter Eight ........................................................................................... 141 Proving Grounds: Art and Activism after Three Mile Island Chris Balaschak Chapter Nine ............................................................................................ 155 Saigon in the Suburbs: Protest, Exclusion, and Visibility Erica Allen Kim Contributors ............................................................................................. 173 Index ........................................................................................................ 177 LIST OF ILLUSTRATIONS Cover Sharon Gilbert, details from A Nuclear Atlas (Rosendale, New York: Women’s Studio Workshop, 1982). © Sharon Gilbert Chapter One Fig. 1-1 Romaine Brooks, La France croisée (The Cross of France), 1914. Oil on canvas, 45 3/4 x 33 1/2 in. (116.2 x 85.0 cm). Smithsonian American Art Museum, Gift of the Artist. Photo and permission: Smithsonian American Art Museum Fig. 1-2 Red Cross recruiting poster, “Ten Thousand by June, Graduate Nurses Your Country Needs You,” c.1917 Fig. 1-3 Postcard, produced by J. Courcier, c.1914 Fig. 1-4 Anonymous, First Aid Nursing Yeomanry ambulance drivers attached to the Belgian Army at Calais, France, c.1918 Fig. 1-5 Anonymous, ambulance drivers, Étaples, France, c.1915 Chapter Two Fig. 2-1 “A large city as the bombardier sees it. A photograph from 24,000 feet.” From Robert P. Breckenridge, Modern Camouflage: The New Science of Protective Concealment. New York: Farrar & Rinehart, 1942 Fig. 2-2 “Regional Civilian Camouflage Schools Conducted under O.C.D. Guidance.” National Archives and Records Administration, Washington, D.C. Fig. 2-3 Office of Civilian Defense civilian camouflage course certificate. National Archives and Records Administration, Washington, D.C. Fig. 2-4 “The Engineer School, Fort Belvoir, Virginia, Third Civilian Camouflage Course, July 6, 1942 to July 18, 1942.” National Archives and Records Administration, Washington, D.C. viii List of Illustrations Chapter Three Fig. 3-1 Chester R. Miller, Free Workers, Free Industry, for the Think American Institute, no. 164, c.1942. From the collection of the Indiana State Museum and Historic Sites Fig. 3-2 Chester R. Miller, Dictatorship, for the Think American Institute, no. 147, c.1942. From the collection of the Indiana State Museum and Historic Sites Fig. 3-3 Harry Gottlieb, The Strike is Won!, 1937. Collection of Belverd and Marian Needles. Copyright by Amy Gottlieb. Fig. 3-4 Chester R. Miller, Future U.S. Progress..., for the Think American Institute, no. 159, c.1942. From the collection of the Indiana State Museum and Historic Sites Chapter Four Fig. 4-1 Martha Rosler, Vacation Getaway, from the series House Beautiful: Bringing the War Home, c. 1967–72. Photomontage. Courtesy of the artist Fig. 4-2 Nancy Spero, Androgynous Bomb and Victims, 1966. Gouache and ink on paper. 18.5 x 23.75 inches. The Williams College Museum of Art. © The Estate of Nancy Spero. Licensed by VAGA, New York / Courtesy Galerie Lelong, New York Fig. 4-3 Vija Celmins, Bikini, 1968. Graphite on acrylic ground on paper. 13 3/8 x 18 ¼ inches (34 x 46.4 cm). Gift of Edward R. Broida. The Museum of Modern Art. Celmins, Vija (b. 1939) © Copyright. Digital image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY Chapter Five Fig. 5-1 Ron Enfield, Marchers pass through Sather Gate on the UC Berkeley campus, November 20, 1964, lead by FSM Steering Committee members Ron Anastasi and Mike Rossman carrying the banner, Mario Savio beside Rossman, and faculty-supporter John Leggett, in dark glasses behind the banner. Conflict, Identity, and Protest in American Art ix Fig. 5.2 Gerhard Gscheidle, Demonstration to Free Huey at the Alameda County Courthouse, 1968. © Gerhard Gscheidle Fig. 5-3 Gerhard Gscheidle, Bobby Seale speaking at the Alameda County Court House, with Emory Douglas to his right, January 1968. © Gerhard Gscheidle Fig. 5-4 Ruth-Marion Baruch, Eldridge Cleaver talking to Panthers Kenny Demon and Charles Brunson, Free Huey Rally, De Fremery Park, Oakland, California, #60 from the series Black Panthers 1968, August 28, 1968. © 2011 Pirkle Jones Foundation Fig. 5-5 Photograph of Huey P. Newton, 1967. Courtesy of the Dr. Huey P. Newton Foundation Inc. Collection, Green Library, Stanford University Fig. 5-6 Eldridge Cleaver, Beverly Axelrod at home in San Francisco, January 1967. Courtesy of The Bancroft Library, University of California, Berkeley Fig. 5-7 Harvey Richards, Vietnam Day Committee Protest, October 15, 1965. Courtesy The Harvey Richards Media Archive Fig. 5-8 Pirkle Jones, Bobby Seale speaking at Free Huey Rally, De Fremery Park, Oakland, #9 from the series Black Panthers 1968, July 14, 1968. © 2011 Pirkle Jones Foundation Fig. 5-9 Ilka Hartmann, Young girls at Black Panther demonstration in San Francisco, CA, February 11, 1970. © 2014 Ilka Hartmann. Chapter Six Fig. 6-1 Corita Kent, my people, 1965, serigraph. Reprinted with permission from the Corita Art Center, Immaculate Heart Community, Los Angeles. Photograph by Josh White Fig. 6-2 Corita Kent, people like us yes, 1965, serigraph. Reprinted with permission from the Corita Art Center, Immaculate Heart Community, Los Angeles. Photograph by Josh White Fig. 6-3 Barrio Mobile Art Studio, Community Workshop, 1970s. © 1976-2015 Self Help Graphics & Art, www.selfhelpgraphics.com. Photo Courtesy of x List of Illustrations University of California, Santa Barbara, Special Collections, California Ethnic and Multicultural Archives Fig. 6-4 Mary’s Day, 1964. Reprinted with permission from the Corita Art Center, Immaculate Heart Community, Los Angeles Fig. 6-5 Mass at Evergreen Cemetery, Day of the Dead, 1976. © 1976-2015 Self Help Graphics & Art, www.selfhelpgraphics.com. Photo Courtesy of University of California, Santa Barbara, Special Collections, California Ethnic and Multicultural Archives Chapter Seven Fig. 7-1 Aviva Rahmani and Marni Gud, Two Nice Jewish Girls, installation and performance at California Institute of the Arts, Valencia, CA, 1972. Courtesy Aviva Rahmani. Fig. 7-2 Crowds interacting with Aviva Rahmani and Marni Gud, Two Nice Jewish Girls, California Institute of the Arts, Valencia, CA, 1972. Courtesy Aviva Rahmani. Fig. 7-3 Cyclona in The Wedding of Maria Theresa Conchita Con Chin Gow, 1971. Scrapbook page, box 5, folder 16. The Fire of Life: The Robert Legorreta - Cyclona Collection, 500, Chicano Studies Research Center, UCLA, University of California, Los Angeles. Courtesy of the UCLA Chicano Studies Research Center. Chapter Eight Fig. 8-1 “If We Lived Here, We’d Be Home,” from The Coalition for Direct Action at Seabrook, Let’s Shut Down Seabrook!, 1979, p. 3. Fig. 8-2 Dona Ann McAdams, “Rancho Seco, Sacramento, California, Sacramento Municipal Utility District,” recto and verso of postcard from the series, The Nuclear Survival Kit: They’re Juggling Our Genes!, 1981. Courtesy of the PAD/D Archive at the Museum of Modern Art Library. © Dona Ann McAdams Conflict, Identity, and Protest in American