scholarly journals Confederate Monuments, Public Memory, and Public History: Dell Upton, Distinguished Professor of Architectural History, University of California, Los Angeles

Panorama ◽  
2018 ◽  
Keyword(s):  
Los Angeles ◽  
Public History ◽  
Public Memory ◽  
Architectural History ◽  
University Of California

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

scholarly journals Hanging Out with Cyclists

2016 ◽  
Vol 6 (3) ◽  
pp. 84-88
Author(s):  
Noam Shoked
Keyword(s):  
Los Angeles ◽  
Performance Studies ◽  
Art History ◽  
Architectural History ◽  
Associate Professor ◽  
Field Trips ◽  
University Of California ◽  
Art Practice ◽  
Art Students ◽  
And Performance

In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.

Books

Film Matters ◽  
2019 ◽  
Vol 10 (2) ◽  
pp. 61-74
Author(s):  
Jonathan T. Pearce ◽  
Jordan Michael-Victor Penrose ◽  
Kelly Rudolph ◽  
Brian C. Davis ◽  
Jenicka Roche
Keyword(s):  
Los Angeles ◽  
Public History ◽  
University Of California ◽  
Indiana University ◽  
The Real ◽  
Independent Cinema ◽  
Military Psychiatry

The Webcam as an Emerging Cinematic Medium, Paula Albuquerque (2018)Amsterdam: Amsterdam University Press, 244pp., ISBN: 9789462985582 (hbk), 120.00, ISBN 9789048536733 (ebk)The Flaherty: Decades in the Cause of Independent Cinema, Patricia R. Zimmermann and Scott MacDonald (2017)Indiana University Press, 360pp., ISBN: 9780253026248 (hbk), 25.00Governing Visions of the Real, Lars Weckbecker (2016)Intellect, 200pp., ISBN: 9781783204953 (hbk), 86.00Los Angeles Documentary and the Production of Public History, 1958-1977, Joshua Glick (2018)University of California Press, 277pp., ISBN: 9780520293717 (pbk), 34.95Traumatic Imprints: Cinema, Military Psychiatry, and the Aftermath of War, Noah Tsika (2018)University of California Press, 300pp., ISBN: 9780520297647 (pbk), 34.95

Lifting the Veil

2014 ◽  
Vol 91 (4) ◽  
pp. 43-55
Author(s):  
Scott Pittman
Keyword(s):  
Los Angeles ◽  
State Government ◽  
The State ◽  
University Of California ◽  
Red Scare ◽  
National Archives ◽  
The Veil ◽  
Hiring And Firing ◽  
And Control ◽  
California Schools

The story of anti-communism in California schools is a tale well and often told. But few scholars have appreciated the important role played by private surveillance networks. This article examines how privately funded and run investigations shaped the state government’s pursuit of leftist educators. The previously-secret papers of Major General Ralph H. Van Deman, which were opened to researchers at the National Archives in Washington, D.C., only a few years ago, show that the general operated a private spy network out of San Diego and fed information to military, federal, and state government agencies. Moreover, he taught the state government’s chief anti-communist bureaucrat, Richard E. Combs, how to recruit informants and monitor and control subversives. The case of the suspicious death of one University of California, Los Angeles student – a student that the anti-communists claimed had been “scared to death” by the Reds – shows the extent of the collaboration between Combs and Van Deman. It further illustrates how they conspired to promote fear of communism, influence hiring and firing of University of California faculty, and punish those educators who did not support their project. Although it was rarely successful, Combs’ and Van Deman’s coordinated campaign reveals a story of public-private anticommunist collaboration in California that has been largely forgotten. Because Van Deman’s files are now finally open to researchers, Californians can gain a much more complete understanding of their state bureaucracy’s role in the Red Scare purges of California educators.

Dialogues

2020 ◽  
Vol 2 (3) ◽  
pp. 53-59
Keyword(s):  
Los Angeles ◽  
New Spain ◽  
American Art ◽  
Historical Trauma ◽  
State Building ◽  
University Of California ◽  
Religious Experiences ◽  
Political Space ◽  
California Missions ◽  
The University

The California missions, whose original church spaces and visual programs were produced by Iberian, Mexican, and Native artisans between 1769 and 1823, occupy an ambiguous chronological, geographical, and political space. They occupy lands that have pertained to conflicting territorialities: from Native nations, to New Spain, to Mexico, to the modern multicultural California. The physical and visual landscapes of the missions have been sites of complex and often incongruous religious experiences; historical trauma and romantic vision; Indigenous genocide, exploitation, resistance, and survivance; state building and global enterprise. This Dialogues section brings together critical voices, including especially the voices of California Indian scholars, to interrogate received models for thinking about the art historical legacies of the California missions. Together, the contributing authors move beyond and across borders and promote new decolonial strategies that strive to be responsive to the experience of California Indian communities and nations. This conversation emerges from cross-disciplinary relationships established at a two-day conference, “‘American’ Art and the Legacy of Conquest: Art at California’s Missions in the Global 18th–20th Centuries,” sponsored by the Terra Foundation for American Art and held at the University of California, Los Angeles, in November 2019.

Sign in / Sign up

Export Citation Format

Share Document