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Durham Research Online
Durham Research Online Deposited in DRO: 24 January 2017 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Harding, J. (2015) 'European Avant-Garde coteries and the Modernist Magazine.', Modernism/modernity., 22 (4). pp. 811-820. Further information on publisher's website: https://doi.org/10.1353/mod.2015.0063 Publisher's copyright statement: Copyright c 2015 by Johns Hopkins University Press. This article rst appeared in Modernism/modernity 22:4 (2015), 811-820. Reprinted with permission by Johns Hopkins University Press. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk European Avant-Garde Coteries and the Modernist Magazine Jason Harding Modernism/modernity, Volume 22, Number 4, November 2015, pp. 811-820 (Review) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mod.2015.0063 For additional information about this article https://muse.jhu.edu/article/605720 Access provided by Durham University (24 Jan 2017 12:36 GMT) Review Essay European Avant-Garde Coteries and the Modernist Magazine By Jason Harding, Durham University MODERNISM / modernity The Oxford Critical and Cultural History of Modernist VOLUME TWENTY TWO, Magazines: Volume III, Europe 1880–1940. -
He Museum of Modern Art No
he Museum of Modern Art No. 21 ?» FOR RELEASE: |l West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Tuesday, February 28, I96T PRESS PREVIEW: Monday, February 27, I96T 11 a.m. - k p.m. HEW DOCUMENTS, an exhibition of 90 photographs by three leading representatives of a new generation of documentary photographers -- Diane Arbus, Lee Friedlander and Garry Winogrand — will be on view at The Museum of Modern Art from February 28 through May 7. John Szarkowski, Director of the Department of Photography, writes in his intro- this duction to the exhibition, "In the past decade/new generation of photographers has redirected the technique and aesthetic of documentary photography to more personal ends. Their aim has been not to reform life but to know it, not to persuade but to understand. The world, in spite of its terrors, is approached as the ultimate source of wonder and fascination, no less precious for being irrational and inco* herent." Their approach differs radically from the documentary photographers of the thirties and forties, when the term was relatively new. Then, photographers used their art as a tool of social reform; "it wac their hope that their pictures would make clear what was wrong with the world, and persuade their fellows to take action and change it," according to Szarkowski, "VJhat unites these three photographers," he says, "is not style or sensibility; each has a distinct and personal sense of the use of photography and the meanings of the world. What is held in common is the belief that the world is worth looking at, and the courage to look at it without theorizing," Garry Winogrand*a subjects range from a group of bathers at Eastharapton Beach on Long Island to a group of tourists at Forest Lawn Cemetery in Los Angeles and refer to much of contemporary America, from the Beverly Hilton Hotel in California to peace marchers in Cape Cod, (more) f3 -2- (21) Winograod was born in New York City in I928 and b3gan photographing while in the Air Force during the second World War. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
The Logic of Modernism Author(S): Adrian Piper Source: Callaloo, Vol
The Logic of Modernism Author(s): Adrian Piper Source: Callaloo, Vol. 16, No. 3 (Summer, 1993), pp. 574-578 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2932257 . Accessed: 15/09/2011 20:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Callaloo. http://www.jstor.org THE LOGIC OF MODERNISM* ByAdrian Piper There are four interrelated properties of Euroethnic art that are central to understand- ing the development of modernism, and in particular the development of contemporary art in the United States within the last few decades: 1) its appropriative character;2) its formalism; 3) its self-awareness; and 4) its commitment to social content. These four properties furnish strong conceptual and strategic continuities between the history of European art-modernism in particular-and recent developments in American art with explicitly political subject matter. Relative to these lines of continuity, the peculiarly American variety of modernism known as Greenbergian formalism is an aberration. Characterized by its repudiation of content in general and explicitly political subject matter in particular, Greenbergian formalism gained currency as an opportunistic ideo- logical evasion of the threat of cold war McCarthyite censorship and red-baiting in the fifties. -
Alexey Brodovitch and Milton Glaser
Alexey Brodovitch and Milton Glaser By: Collins Ferebee and Bridget Dunne Alexey Brodovitch Alexey Brodovitch • Photographer, designer, and instructor • Born in Ogolitch, Russia in 1898 • Moved to Moscow during the Russo‐ Japanese war • Moved to France aer serving in the White Army during the Russian Civil War where he began sketching designs for texles, China, Jewelry, and Posters • Although employed by Athelia, he started his own studio L’ Atelier where he produced posters for various clients, including Union Radio Paris and the Cunard shipping company Milton Glaser Milton Glaser • Born June 26, 1929 In NYC • Graphic designer best known for his “I <3 NYC” logo • Graduated Cooper Union in 1951, as well as the Academy of Fine Arts Bologna under Giorgio Mirandi, one of the most highly respected sll life painters of his day • Taught at the Visual School of Arts and Cooper Union Brodovitch Style • Believed in the primacy of visual freshness and immediacy • He believed in simplicity by displaying elegance from the merest hint of materiality • Taught his students with ulizing Visual aids, such as French and German Magazines and oungs around town Brodovitch Brodovitch Glaser Style • Directness, Simplicity, and Originality define his works • Those who have worked with Glaser know that he is not afraid of any medium and will use whatever it takes to get the message across • One can expect to see his style range from “primive” to Avant Garde Glaser Glaser Brodovitch Type and Print Ulized strict geometric forms and basic colors Brodovitch Bodovitch Achievements • First gained recognion for winning a poster contest for the Bal Banal in 1924 • Headed The Pennsylvania Museum School of Art’s Adversing Design Department • Shot images from the Le Tricome ballet for his book Ballet, published in 1945 • Art Director of Harper’s Bazaar from 1934‐ 1958 Brodovitch Brodovitch Glaser Achievements • In 1954 Glaser Was Founder And President Of Push Pin Studios • Co‐ founder of New York Magazine • 600 Mural in IndianapolisJust To Name A Few, Here Are A List Of Glaser’s Firms clients. -
Bischof Associate Professor of History and Chair Department of History and Political Science, University of Southern Maine
Elizabeth (Libby) Bischof Associate Professor of History and Chair Department of History and Political Science, University of Southern Maine 200G Bailey Hall 59 Underhill Dr. 37 College Ave. Gorham, Maine 04038 Gorham, Maine 04038 Cell: 617-610-8950 [email protected] [email protected] (207) 780-5219 Twitter: @libmacbis EMPLOYMENT: Associate Professor of History, with tenure, University of Southern Maine, 2013-present. Assistant Professor of History, University of Southern Maine, 2007-2013. Post-Doctoral Fellow, Boston College, 2005-2007. EDUCATION: August 2005 Ph.D., American History, Boston College. Dissertation: Against an Epoch: Boston Moderns, 1880-1905 November 2001 Master of Arts, with distinction, History, Boston College May 1999 Bachelor of Arts, cum laude, History, Boston College RESEARCH AND TEACHING INTERESTS: Nineteenth-century US History (Cultural/Social) American Modernism History of Photography/Visual Culture Artist Colonies/Arts and Crafts Movement New England Studies/Maine History Popular Culture/History and New Media PUBLICATIONS: Works in Progress/Forthcoming: Libby Bischof, Susan Danly, and Earle Shettleworth, Jr. Maine Photography: A History, 1840-2015 (Forthcoming, Down East Books/Rowman & Littlefield and the Maine Historical Society, Fall 2015). “A Region Apart: Representations of Maine and Northern New England in Personal Film, 1920-1940,” in Martha McNamara and Karan Sheldon, eds., Poets of Their Own Acts: The Aesthetics of Home Movies and Amateur Film (Forthcoming, Indiana University Press). Modernism and Friendship in 20th Century America (current book project). Books: (With Susan Danly) Maine Moderns: Art in Seguinland, 1900-1940 (New Haven: Yale University Press, 2011). Winner, 2013 New England Society Book Award for Best Book in Art and Photography Peer-Reviewed Articles/Chapters in Scholarly Books: “Who Supports the Humanities in Maine? The Benefits (and Challenges) of Volunteerism,” forthcoming from Maine Policy Review: Special Issue on the Humanities and Policy, Vol. -
Photo/Graphics Michel Wlassikoff
SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies. -
Paul Rand: a Significant Collection
paul rand: a significant collection modernism 101 rare design books 1938 ● 1996 “[Rand] has no patience with slickness, with facility; he is a se- vere critic of the hackneyed and the insincere. All this is dead wood to be cleared away.” — E. McKnight Kauffer [Introduction to THOUGHTS ON DESIGN] Paul Rand [1914 – 1996] had established himself as the most influ- ential graphic designer of his time by the ripe old age of 23. Our cata - log cover portrait first appeared in the PM Shorts column from the February – March 1938 PM over the cutline “[Paul Rand] recently appointed art director of Esquire’s New York Office. Rand, who is 23, is one of the country’s youngest art directors.” The lowercase job title presentation underscored the nascent form of the industry that Rand would come to personify over the next half century. The development of Graphic Design as an industry and a profession is the focus of this catalog. Assembled here is a collection of rare books, periodicals and artifacts meant to recount history via a chronological exploration of Rand’s professional roles: first as a media promoter, then advertising designer, then corporate identification specialist and finally as educator. Everybody whose resumé includes the title Art Director in capital let- ters owes a professional debt to Brooklyn native Peretz Rosenbaum and his lifelong quest to clear away the dead wood that threatened to overgrow America and the rest of the postwar world. Catalog Fun Fact Titles appearing in red contain an imbedded URL hotlink to our website modernism101.com. When clicking on a title of interest, your web browser may display this message: If you trust the site, choose Allow. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. -
Rush Hour, New York
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Max Weber American, born Poland, 1881 - 1961 Rush Hour, New York 1915 oil on canvas overall: 92 x 76.9 cm (36 1/4 x 30 1/4 in.) framed: 111.7 x 95.9 cm (44 x 37 3/4 in.) Inscription: lower right: MAX WEBER 1915 Gift of the Avalon Foundation 1970.6.1 ENTRY Aptly described by Alfred Barr, the scholar and first director of the Museum of Modern Art, as a "kinetograph of the flickering shutters of speed through subways and under skyscrapers," [1] Rush Hour, New York is arguably the most important of Max Weber’s early modernist works. The painting combines the shallow, fragmented spaces of cubism with the rhythmic, rapid-fire forms of futurism to capture New York City's frenetic pace and dynamism. [2] New York’s new mass transit systems, the elevated railways (or “els”) and subways, were among the most visible products of the new urban age. Such a subject was ideally suited to the new visual languages of modernism that Weber learned about during his earlier encounters with Pablo Picasso (Spanish, 1881 - 1973) and the circle of artists who gathered around Gertrude Stein in Paris in the first decade of the 20th century. Weber had previously dealt with the theme of urban transportation in New York [fig. 1], in which he employed undulating serpentine forms to indicate the paths of elevated trains through lower Manhattan's skyscrapers and over the Brooklyn Bridge. In 1915, in addition to Rush Hour, he also painted Grand Central Terminal [fig. -
Paul Rand Louis Danziger: Early Life and Education
Indisputably, Rand’s most widely known His career began with humble assignments, starting contribution to graphic design are his with a part-time position creating stock images for a corporate identities, many of which are syndicate that supplied graphics to various newspa- still in use. IBM, ABC, Cummins Engine, pers and magazines. Between his class assignments Westinghouse, and UPS, among many and his work, Rand was able to amass a fairly large others, owe their graphical heritage to portfolio, largely influenced by the German advertis- him, though UPS recently carried out a ing style Sachplakat (ornamental poster) as well as controversial update to the classic Rand the works of Gustav Jensen. design. One of his primary strengths, as Maholy-Nagy pointed out, was his abil- ity as a salesman to explain the needs his identities would address for the cor- poration. According to graphic designer Paul rand Louis Danziger: Early life and education Paul Rand (born Peretz Rosenbaum, “ We went from being commer- It was at around this time that he decided to cam- August 15, 1914 – November 26, 1996) cial artists to being graphic de- ouflage (and abbreviate) the overtly Jewish identi- was a well-known American graphic signers largely on his ty telegraphed by ‘Peretz Rosenbaum,’ shortening designer, best known for his corporate merits.” his forename to ‘Paul’ and taking ‘Rand’ from an logo designs. Rand was educated at the uncle to form his new surname. Morris Wyszogrod, Pratt Institute (1929-1932), the Parsons a friend and associate of Rand, noted that “he fig- School of Design (1932-1933), and the ured that ‘Paul Rand,’ four letters here, four letters Art Students League (1933-1934). -
Modern Art in the USA 1900-1939 (Lecture Response Unit) | University of Bristol
09/26/21 HART20005: Modern Art in the USA 1900-1939 (Lecture Response Unit) | University of Bristol HART20005: Modern Art in the USA View Online 1900-1939 (Lecture Response Unit) 1. Peters Corbett D, Bourguignon K, Riopelle C. An American Experiment: George Bellows and the Ashcan Painters. National Gallery; 2011. 2. Altshuler B. Explosion at the Armory International Exhibition of Modern Art, New York, 1913. In: The Avant-Garde in Exhibition: New Art in the 20th Century. Abrams; 1994. 3. Corn WM. Américanisme. In: The Great American Thing: Modern Art and National Identity, 1915-1935. University of California Press; 1999. 4. Greenberg C. Avant-garde and kitsch. In: Art and Culture: Critical Essays. Vol Beacon paperbacks. Beacon Press; 1961. 5. Rose B. The Thirties: Reaction and rebellion. In: American Art since 1900: A Critical History. Vol World of art library. general. Thames and Hudson; 1967. 6. Schmied W. Precisionist View and American scene: The 1920s. In: American Art in the 20th 1/18 09/26/21 HART20005: Modern Art in the USA 1900-1939 (Lecture Response Unit) | University of Bristol Century: Painting and Sculpture, 1913-1993. Prestel; 1993. 7. Tashjian D. First American phases of surrealism. In: A Boatload of Madmen: Surrealism and the American Avant-Garde, 1920-1950. Thames & Hudson; 2001. 8. Corn WM. The Great American Thing: Modern Art and National Identity, 1915-1935. University of California Press; 1999. 9. Harris J. Federal Art and National Culture: The Politics of Identity in New Deal America. Vol Cambridge studies in American visual culture. Cambridge University Press; 1995. 10. Haskell B, Whitney Museum of American Art.