Word: america
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Dates: during 1990-1999
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...when news of the possible heist landed in Washington. Congressional leaders were already fuming about disclosures, first made in the March 6 edition of the New York Times, that since 1996 the FBI had been trying to determine whether Lee had given Beijing classified information about the design of America's most advanced nuclear warhead, the W-88, and that in spite of this possibility, Lee had remained at Los Alamos until he was fired on March 8. The Administration tried to sidestep criticism by insisting that any spying that had taken place had happened during Republican administrations. But that...
...cold war; from a portrait by Thomas Eakins to a green humanoid by William Baziotes; from Stanford White's classicism to the democratic boxes of post- World War II Levittown; from Alfred Stieglitz's immigrants on shipboard to Robert Frank's visions of the underface of big-city America...
...communism, say around 1989, thus becoming the shortest ever. The phrase the American Century comes, of course, from a wartime editorial written in LIFE by its founder, Henry Luce, expressing an updated view of the 19th century belief in Manifest Destiny: that it was the fate and duty of America to "lead the world" in all things--spiritual, political, cultural and economic...
...American public, between 1900 and 1950, was distinctly timid about appreciating the work of American artists, and to modernist ones it could be quite hostile. What worked in favor of the art, in the end, was the insatiable appetite for the new that had been built into European America's social contract ever since the Puritans came to Massachusetts to create the New Jerusalem. To Americans between 1900 and 1950, however, the idea of an American Century in the arts--other than popular mass culture--would have made little sense...
...country of immigrants, the question of who is and who is not an American artist is always a vexing one. In the early 20th century, modernism itself was attacked as an "alien," or immigrant, form. America has never been short of blood-in-the-eye nativists and cultural conservatives (not a few of them painters, like Thomas Hart Benton), who believed that the art of Jews, gays and anyone else they disliked couldn't be really American. Such primitivism is gone now--or, at any rate, nobody who cares about art would deploy it. Obviously, the question...