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The article discusses the different types of hues and textures that represent the aspect of modernism in California. The article further discusses the different influences and approaches that impact the style of furniture designing which is commonly found in California, along with the evaluation home furnishing products designed by Gretta Magnusson-Grossman, Charles Eames and Ray Eames.

The article presents information on Modernists in the U.S., who got interested in cultural consciousness in the first half of the 20th century. These Modernists were attracted by the casual lifestyle and liberalism at California. The artists made remarkable paintings and sculptures related to the country, that transformed the aesthetics of the U.S. into modernity. The Modernists included Otis Oldfield, Stanton Macdonald-Wright, and Oskar Fischinger.

The article presents the views of legendary curator Walter Hopps about painters and artists from California. Hopps first show was that of artist Craig kauffman at Syndell studio and the first gallery show was of artist Edward Kienholz. Hopps explained about three chief modes of twentieth-century work including realists, modernists and imagists. Hopps also spoke about the experience he had in the studio of artist Richard Diebenkorn.

This article focuses on modernist jewellers in San Diego, California from 1940 to 1970. During this period, the state possessed a viable art community. Arts and metalwork was almost nonexistent, except for J. Jessop and Sons, Jewelers. During the World War II, the state attracted young artists who developed the arts community. The Allied Craftsmen of San Diego was later established. Its members include eminent jeweler Harry Bertoia.

Offers a perspective on the ideological implications of the use of the term contemporary art in the Museum of Contemporary Art (MOCA) in Los Angeles, California. Dogma that adheres to works of modern art; Criteria for contemporaneity and modernism; Determination of MOCA to introduce a vision of art and its public presentation.

The article describes the work of artist James Turrell. It focuses on the works of Turrell in the mid-60s with the California avant-garde cutting holes in gallery walls and ceilings to cast natural and artificial light. It presents Turrell's project in the mid-70s using funds from a Guggenheim grant to transform a dormant volcano, Roden Crater, into an immense natural observatory and lighting showroom.

The article offers several attractions and tourist destination in San Francisco, California. It mentions several landmarks in which the city is know for including the Golden Gate Bridge, Fsherman's Wharf, and Pier 39. It cites the Museum of Modern Art which contains 20th century and contemporary art masterpieces. It notes several places of attractions including the Aquarium of the Bay where there are 20,000 marine animals, Conservatory of Flowers, and the Old Faithful Geyser of California.

Features California as the home of innovations ranging from iMacs to modernist pottery. Contributions to American design; Fusion in California pottery during the 1915 Panama-California International Exposition in San Diego; Addition of modernist designs to potteries.

Focuses on modern artist Marc Chagall, in light of the Chagall retrospective at the San Francisco Museum of Modern Art, San Francisco, California. Chagall's reputation; Biographical details; Focus of his art; His life as a Jew in Christian Europe; Influence of the Post-Impressionists; Career background; Examples of his works; Chagall's role in introducing Jewish life into the mainstream of Western art.

The article reports on three recent art exhibitions that highlighted the need to revise the view of "California as a provincial breeding ground for the Manhattan scene." The smallest and most interesting exhibition was "California 1920-1945" held at the Tobey Moss Gallery. The event offered a modest reprise of the range of activities of forward-looking artists on the West Coast during the European modernist movement.

An interview with art dealer Tobey C. Moss is presented. When asked to define California modernism, Moss explains that it claims its roots in the state which is best described by colorform and hard edge abstraction. She says that the art scene in Los Angeles is more soulful and truthful than the unbridled passion of Expressionism. Moss believes the difference is influenced by the California landscape which is associated with limitless space, light and freedom.

Reviews the exhibition "Villa America: American Moderns, 1900-1950" at the Orange County Museum of Art in Newport Beach, California through October 2005.

Features the exhibition "American Modern," at the Hackett Freedman Gallery in San Francisco, California. Gallery's interpretation of the exhibition's title; Paintings which form the center of the exhibition; Showcasing of paintings, sculptures and works on paper for a period of advanced American art before Abstract Expressionism.

Mentions the outdoor furniture available at a Los Angeles, California, shop called Outside. Pieces purchased by New York City designer Thad Hayes; Availability of a Richard Neutra outdoor ensemble and a Walter Lamb lounge chair; Contact point.

Features the neo-modern house designs by modernist architects in California. Combination of abstract geometric forms with wood sidings in the design by Lexton MacCarthy; Emphasis of Toshiko Mori designs on symmetry and sensitivity to nature; Experimentation of Guthrie + Buresh with radical postmodern designs.

Reports on the opening of the Spencer Jon Helfen Fine Arts gallery in Beverly Hills, California. Title of initial exhibition; Focus on Modernists active in California.