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• W2073959096 abstract "Life magazine debuted onto the American publishing scene in November, 1936. The third major pub lication to come out of Heniy Luce's publishing empire, Time, Inc., Life was a picture magazine. It helped to transform visual culture in America, elevating images over text as a means of communication and developing an influential new style of photographic journalism first in troduced in the magazine's inaugural issue with Margaret Bourke White's photographs of the Fort Peck Dam (Figure 1). Ranging in sub jects from international politics to society news, Life provided a visual survey of modern experience for its readers, a weekly synopsis of the state of the world presented through pictures elucidated with bold headlines and short captions. While Life's impact on photojournalism is well-known, the magazine's coverage of fine art is more obscure. And yet from its first issue, which included an article on the American painter John Steuart Curry, Life made a point of featuring fine art as a centerpiece of its visual pageant of American life. Henry Luce's ambi tious prospectus for the magazine included art as an important aspect of the magazine's subject matter: To see life: to see the world ... to see man's work—his paintings, towers and discoveries ... to see and be amazed; to see and be instructed.1 The blend of entertainment and edification articulated by Luce was central to Life's presentation of fine art: by covering the world of painting and sculpture alongside society parties and international events, Life normalized art as an aspect of everyday life; by adopting a didactic approach to presenting art, the magazine attempted to shape the way mainstream America thought about artistic production and display. At a time when the New Deal government was sponsoring feder ally-funded art projects that trumpeted ideals of cultural democracy, and politically radical artists were arguing for the role of art in promot ing revolutionary social change, Life used popular consciousness of art to reinforce established social hierarchies. If art could be a weapon of class struggle or an instrument of state democracy, it could also," @default.
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• W2073959096 date "2010-01-01" @default.
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• W2073959096 title "Art in <i>Life</i>: Fashioning Political Ideology Through Visual Culture in Mid-Century America" @default.
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• W2073959096 doi "https://doi.org/10.1353/amp.2010.0003" @default.
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