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Excerpt from Treasure Island "the Magic City," 1939-1940: The Story of the Golden Gate International Exposition Mr. G. Pisani, head of the Pisani Printing and Publishing Company of San Francisco, had close contact with the 1940 Fair through his interest in one of its outstanding attractions, the Sa lici Puppets. Mr. Pisani offered to underwrite publication costs of this volume, when the Exposition Company was unable to undertake that responsibility. The caliber of his contribution is apparent. The book speaks for itself. When it was finally determined to sponsor the publication of this permanent record of Treasure Island, 1939 and 1940, a supervisorial committee was chosen, which included, among others, Leland W. Cutler, President of the 1939 Fair; Marshall Dill, President in 1940 and George Creel, United States Com missioner for both years. This committee has checked and passed upon all factual data. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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This volume explores how Italian institutions, dealers, critics, and artists constructed a modern national identity for Italy by exporting – literally and figuratively – contemporary art to the United States in key moments between 1929 and 1969. From artist Fortunato Depero opening his Futurist House in New York City to critic Germano Celant launching Arte Povera in the United States, Raffaele Bedarida examines the thick web of individuals and cultural environments beyond the two more canonical movements that shaped this project. By interrogating standard narratives of Italian Fascist propaganda on the one hand and American Cold War imperialism on the other, this book establishes a more nuanced transnational approach. The central thesis is that, beyond the immediate aims of political propaganda and conquering a new market for Italian art, these art exhibitions, publications, and the critical discourse aimed at American audiences all reflected back on their makers: they forced and helped Italians define their own modernity in relation to the world’s new dominant cultural and economic power. The book will be of interest to scholars working in art history, social history, exhibition history, and Italian studies.