The Armory Show at 100: Modernism and Revolution
Autor Marilyn Kushneren Limba Engleză Hardback – 31 aug 2013
The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City, this ambitious exhibition of 1,400 works was the moment when the American public was introduced to European avant-garde art. This outstanding interdisciplinary volume re-examines the exhibition and its historical and cultural context. It includes over thirty essays by eminent scholars across diverse fields to evoke the wider social, political, and economic climate during the 1913 show.
Preț: 367.75 lei
Preț vechi: 398.19 lei
-8% Nou
Puncte Express: 552
Preț estimativ în valută:
70.41€ • 73.32$ • 58.42£
70.41€ • 73.32$ • 58.42£
Carte indisponibilă temporar
Doresc să fiu notificat când acest titlu va fi disponibil:
Se trimite...
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9781907804045
ISBN-10: 1907804048
Pagini: 512
Ilustrații: 160 color illustrations, 160 B&W illustrations
Dimensiuni: 262 x 312 x 48 mm
Greutate: 3.6 kg
Ediția:New.
Editura: Giles
ISBN-10: 1907804048
Pagini: 512
Ilustrații: 160 color illustrations, 160 B&W illustrations
Dimensiuni: 262 x 312 x 48 mm
Greutate: 3.6 kg
Ediția:New.
Editura: Giles
Cuprins
PRESIDENT’S FOREWORD
CURATORS’ STATEMENT AND ACKNOWLEDGMENTS
MARILYN SATIN KUSHNER A Century of the Armory Show:Modernism and Myth
Organizers of the Armory Show
KIMBERLY ORCUTT Arthur B. Davies—Hero or Villain?
GAIL STAVITSKY Walt Kuhn: Armory Showman
LAURETTE E. McCARTHY Walter Pach: Agent of Modernism
SUSAN G. LARKIN “So many thrills, so much excitement”: ElmerMacRae’s Role in the Armory Show
New York and the United States ca. 1913
CASEY NELSON BLAKE Greenwich Village Modernism: “The Essence of It AllWas Communication”
MAX PAGE The Armory Show in the Provisional City
DANIEL H. BORUS The Armory Show and the Transformation of American Culture
LEON BOTSTEIN Echoes of the Armory Show:Modern Music in New York
ANNE McCAULEY The “Big Show” and the Little Galleries: Alfred Stieglitz and the Search for Modern Art Photography in 1913
SUSAN HEGEMAN A “Wordminded People” Encounters the Armory Show
CHARLES MUSSER 1913: A Feminist Moment in the Arts
The Exhibition
EUROPEAN ART
DIDIER OTTINGER Off to the Armory Show!
Case Studies
FRANCIS M. NAUMANN “An Explosion in a Shingle Factory”:Marcel Duchamp’s Nude Descending a Staircase(No.2)
MICHAEL R. TAYLOR “The Cuban who Outcubed the Cubists”:Francis Picabia and the 1913 Armory Show
WILLIAM C. AGEE Henri Matisse at the Armory Show—and Beyond
DOÏNA LEMNY Brancusi’s Busts:Work in Progress
AIMÉE BROWN PRICE Puvis de Chavannes, Pioneer and Paragon of Modernism
AMERICAN ART
VIRGINIA M. MECKLENBURG Slouching toward Modernism: American Art at the Armory Show
Case Studies
KIMBERLY ORCUTT Robert Henri’s Manifesto
MARTHA TEDESCHI A Pre-Emptive Strike: John Marin and the Armory Show
MARILYN SATIN KUSHNER Morgan Russell: A “Barbarian” or American Avant-Garde in Paris?
WILLIAM C. AGEE Morton Livingston Schamberg: A Short Life, a Major Achievement
WORKS ON PAPER
ROBERTA J. M. OLSON Drawings at the Armory: The Currency of Change and Modernism
MARILYN SATIN KUSHNER Revisiting Editions: Prints in the Armory Show
Responses
KIMBERLY ORCUTT “Public Verdict”: Debating Modernism at the Armory Show
SARAH BURNS Cubist Comedy and Futurist Follies: The Visual Culture of the Armory Show
Traveling Venues
JUDITH A. BARTER “The Great Confusion”: The Armory Show in Chicago
CAROL TROYEN “Unwept, unhonored, and unsung”: The Armory Show in Boston
Legacy
BARBARA HASKELL The Legacy of the Armory Show: Fiasco or Transformation?
AVIS BERMAN “Creating a New Epoch”: American Collectors and Dealers and the Armory Show
SELECTED BIBLIOGRAPHY
APPENDIX A The Complete 1913 Armory Show Checklist
APPENDIX B List ofWorks in the 1913 Armory Show by Gallery
NOTES
INDEX
CURATORS’ STATEMENT AND ACKNOWLEDGMENTS
MARILYN SATIN KUSHNER A Century of the Armory Show:Modernism and Myth
Organizers of the Armory Show
KIMBERLY ORCUTT Arthur B. Davies—Hero or Villain?
GAIL STAVITSKY Walt Kuhn: Armory Showman
LAURETTE E. McCARTHY Walter Pach: Agent of Modernism
SUSAN G. LARKIN “So many thrills, so much excitement”: ElmerMacRae’s Role in the Armory Show
New York and the United States ca. 1913
CASEY NELSON BLAKE Greenwich Village Modernism: “The Essence of It AllWas Communication”
MAX PAGE The Armory Show in the Provisional City
DANIEL H. BORUS The Armory Show and the Transformation of American Culture
LEON BOTSTEIN Echoes of the Armory Show:Modern Music in New York
ANNE McCAULEY The “Big Show” and the Little Galleries: Alfred Stieglitz and the Search for Modern Art Photography in 1913
SUSAN HEGEMAN A “Wordminded People” Encounters the Armory Show
CHARLES MUSSER 1913: A Feminist Moment in the Arts
The Exhibition
EUROPEAN ART
DIDIER OTTINGER Off to the Armory Show!
Case Studies
FRANCIS M. NAUMANN “An Explosion in a Shingle Factory”:Marcel Duchamp’s Nude Descending a Staircase(No.2)
MICHAEL R. TAYLOR “The Cuban who Outcubed the Cubists”:Francis Picabia and the 1913 Armory Show
WILLIAM C. AGEE Henri Matisse at the Armory Show—and Beyond
DOÏNA LEMNY Brancusi’s Busts:Work in Progress
AIMÉE BROWN PRICE Puvis de Chavannes, Pioneer and Paragon of Modernism
AMERICAN ART
VIRGINIA M. MECKLENBURG Slouching toward Modernism: American Art at the Armory Show
Case Studies
KIMBERLY ORCUTT Robert Henri’s Manifesto
MARTHA TEDESCHI A Pre-Emptive Strike: John Marin and the Armory Show
MARILYN SATIN KUSHNER Morgan Russell: A “Barbarian” or American Avant-Garde in Paris?
WILLIAM C. AGEE Morton Livingston Schamberg: A Short Life, a Major Achievement
WORKS ON PAPER
ROBERTA J. M. OLSON Drawings at the Armory: The Currency of Change and Modernism
MARILYN SATIN KUSHNER Revisiting Editions: Prints in the Armory Show
Responses
KIMBERLY ORCUTT “Public Verdict”: Debating Modernism at the Armory Show
SARAH BURNS Cubist Comedy and Futurist Follies: The Visual Culture of the Armory Show
Traveling Venues
JUDITH A. BARTER “The Great Confusion”: The Armory Show in Chicago
CAROL TROYEN “Unwept, unhonored, and unsung”: The Armory Show in Boston
Legacy
BARBARA HASKELL The Legacy of the Armory Show: Fiasco or Transformation?
AVIS BERMAN “Creating a New Epoch”: American Collectors and Dealers and the Armory Show
SELECTED BIBLIOGRAPHY
APPENDIX A The Complete 1913 Armory Show Checklist
APPENDIX B List ofWorks in the 1913 Armory Show by Gallery
NOTES
INDEX
Recenzii
Winner of the CHOICE Award for Outstanding Academic Title 2014
"The catalogue is absolutely first-rate"—Karen Wilkin, The New Criterion
"Gorgeously illustrated"—The New York Times, Sunday Book Review
"It conveys a good idea of how and why an exhibition that happened a century ago is still worth thinking about"—Ken Johnson, The New York Times Holiday Gift Guide 2013
“Will offer nuance to the standard shock-and-awe Armory story”—Holland Cotter, The New York Times
“While the Armory Show may now be only a vague historical event, by the end of 2013 we should all have given it a thorough reconsideration”—James Panero, The New Criterion
“Giving a wide cultural and social picture of New York in that era” The Art Newspaper
An "impressive volume"—Maine Antique Digest
"A monumental undertaking worthy of the Armory Show's 100th anniversary"—W. L. Whitwell, CHOICE
"It will serve as the definitive book on this topic for years to come"—Isabel Taube, Nineteenth-Century Art Worldwide
"The catalogue is absolutely first-rate"—Karen Wilkin, The New Criterion
"Gorgeously illustrated"—The New York Times, Sunday Book Review
"It conveys a good idea of how and why an exhibition that happened a century ago is still worth thinking about"—Ken Johnson, The New York Times Holiday Gift Guide 2013
“Will offer nuance to the standard shock-and-awe Armory story”—Holland Cotter, The New York Times
“While the Armory Show may now be only a vague historical event, by the end of 2013 we should all have given it a thorough reconsideration”—James Panero, The New Criterion
“Giving a wide cultural and social picture of New York in that era” The Art Newspaper
An "impressive volume"—Maine Antique Digest
"A monumental undertaking worthy of the Armory Show's 100th anniversary"—W. L. Whitwell, CHOICE
"It will serve as the definitive book on this topic for years to come"—Isabel Taube, Nineteenth-Century Art Worldwide
Notă biografică
Authors
Marilyn Satin Kushner is Curator and Head, Department of Prints, Photographs, and Architectural Collections at the New-York Historical Society; Kimberly Orcutt is the Curator of American Art at the New-York Historical Society; Casey Nelson Blake is Professor of History and American Studies at Columbia University.
Contributors
William C. Agee, Professor of Art History, Hunter College, City University of New York; Judith A. Barter, Field-McCormick Chair and Curator of American Art, The Art Institute of Chicago; Avis Berman, Writer and independent art historian; Daniel H. Borus, Professor of History, University of Rochester, New York; Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra; Conductor Laureate, Jerusalem Symphony Orchestra; and Editor, The Musical Quarterly; Sarah Burns, Professor Emerita, Department of History of Art, Indiana University, Bloomington; Barbara Haskell, Curator of Early Twentieth Century Art, Whitney Museum of American Art, New York; Susan Hegeman, Associate Professor of English, University of Florida, Gainesville; Susan G. Larkin, Independent art historian and curator; Doïna Lemny, Assistant Curator of Modern Collections, National Museum of Modern Art, Centre Pompidou, Paris; Laurette E. McCarthy, Independent scholar and curator; Anne McCauley, Professor of the History of Photography and Modern Art, Princeton University, New Jersey; Virginia M. Mecklenburg, Senior Curator, Smithsonian American Art Museum, Washington DC; Charles Musser, Professor of Film Studies and American Studies, Yale University, New Haven, Connecticut;Francis M. Naumann, Francis M. Naumann Fine Art, LLC, New York; Roberta J. M. Olson, Curator of Drawings, New-York Historical Society; Didier Ottinger, Deputy Director, National Museum of Modern Art, Centre Pompidou, Paris; Max Page, Professor of Architecture and History, University of Massachusetts in Amherst; Aimée Brown Price, Independent art historian and curator; Gail Stavitsky, Chief Curator, Montclair Art Museum, New Jersey; Michael R. Taylor, Director, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Martha Tedeschi, Deputy Director for Art and Research, The Art Institute of Chicago; Carol Troyen, Curator Emerita of American Paintings, Museum of Fine Arts, Boston.
Marilyn Satin Kushner is Curator and Head, Department of Prints, Photographs, and Architectural Collections at the New-York Historical Society; Kimberly Orcutt is the Curator of American Art at the New-York Historical Society; Casey Nelson Blake is Professor of History and American Studies at Columbia University.
Contributors
William C. Agee, Professor of Art History, Hunter College, City University of New York; Judith A. Barter, Field-McCormick Chair and Curator of American Art, The Art Institute of Chicago; Avis Berman, Writer and independent art historian; Daniel H. Borus, Professor of History, University of Rochester, New York; Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra; Conductor Laureate, Jerusalem Symphony Orchestra; and Editor, The Musical Quarterly; Sarah Burns, Professor Emerita, Department of History of Art, Indiana University, Bloomington; Barbara Haskell, Curator of Early Twentieth Century Art, Whitney Museum of American Art, New York; Susan Hegeman, Associate Professor of English, University of Florida, Gainesville; Susan G. Larkin, Independent art historian and curator; Doïna Lemny, Assistant Curator of Modern Collections, National Museum of Modern Art, Centre Pompidou, Paris; Laurette E. McCarthy, Independent scholar and curator; Anne McCauley, Professor of the History of Photography and Modern Art, Princeton University, New Jersey; Virginia M. Mecklenburg, Senior Curator, Smithsonian American Art Museum, Washington DC; Charles Musser, Professor of Film Studies and American Studies, Yale University, New Haven, Connecticut;Francis M. Naumann, Francis M. Naumann Fine Art, LLC, New York; Roberta J. M. Olson, Curator of Drawings, New-York Historical Society; Didier Ottinger, Deputy Director, National Museum of Modern Art, Centre Pompidou, Paris; Max Page, Professor of Architecture and History, University of Massachusetts in Amherst; Aimée Brown Price, Independent art historian and curator; Gail Stavitsky, Chief Curator, Montclair Art Museum, New Jersey; Michael R. Taylor, Director, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Martha Tedeschi, Deputy Director for Art and Research, The Art Institute of Chicago; Carol Troyen, Curator Emerita of American Paintings, Museum of Fine Arts, Boston.
Descriere
A groundbreaking re-examination of the seminal 1913 New York art show.