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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. -
My New Cover.Pptx
Ich bin nicht ein Berliner: A Reconsideration of Marsden Hartley's Portrait of a German Officer Sean Kramer (FacultyAdvisor: Marni Kessler) Art History Figure I7 8artley9 Marsden7 Portrait of a German Officer. Alfred ;tie<lit= >ollection7 Metro?olitan Museum of Art9 New York. 236 German Officer with a formal analysis of This painting, executed in November 1914, the painting. I then use semiotic theory to shows Hartley's assimilation of both Cubism begin to unpack notions of a singular, (the collagelike juxtapositions of visual fragments) and German Expressionism (the "correct" interpretation of the painting coarse brushwork and dramatic use of bright and to emphasize the multiform nature of colors and black). In 1916 the artist denied that reception. In this section, I seek to the objects in the painting had any special establish that the artist's personal meaning (perhaps as a defensive measure to connection to the artwork is not ward off any attacks provoked by the intense anti-German sentiment in America at the time). necessarily the most important However, his purposeful inclusion of medals, interpretive guideline for working with banners, military insignia, the Iron Cross, and this image. I then use examples of letters the German imperial flag does invoke a specific and numerals within the work to sense of Germany during World War I as well illustrate the plurality of cultural and as a collective psychological and physical linguistic processes which inform portrait of a particular officer.1 viewership of the painting. Meanings in a text, I posit, rely on the interaction between the contexts of the viewer and of This quotation comes from a section the author. -
Marsden Hartley on Cape Ann : Hartley’S 16 Year Relationship with Cape Ann Lecture Transcript
MARSDEN HARTLEY ON CAPE ANN : HARTLEY’S 16 YEAR RELATIONSHIP WITH CAPE ANN LECTURE TRANSCRIPT Speaker: Elyssa East Date: 8/18/2012 Runtime: 0:56:10 Camera Operator: unknown Identification: VL46 ; Video Lecture #46 Citation: East, Elyssa. “Marsden Hartley on Cape Ann : Hartley’s 16 Year Relationship with Cape Ann.” CAM Video Lecture Series, 8/18/2012. VL46, Cape Ann Museum Library & Archives, Gloucester, MA. Copyright: Requests for perMission to publish Material from this collection should be addressed to the Librarian/Archivist. Language: English Finding Aid: Video Description: 2012 Press Release Subject List: Trudi Olivetti, 6/24/2020 Transcript: Linda Berard, 4/15/2020. Video Description FroM 2012 Press Release: In 1931, the AMerican Early Modernist painter Marsden Hartley spent a life-altering suMMer in Dogtown. But Hartley had a long-standing relationship with Cape Ann that began years earlier. Elyssa East, author of Dogtown: Death and Enchantment in a New England Ghost Town, will discuss Hartley's sixteen-year relationship with Cape Ann and how it Marsden Hartley on Cape Ann – VL46 – page 2 changed his life and work. “Marsden Hartley on Cape Ann” is offered in conjunction with the special exhibition Marsden Hartley: Soliloquy in Dogtown, which is on display at the Cape Ann MuseuM through October 14. The lecture is generously sponsored by the Cape Ann Savings Bank. Elyssa East is the author of Dogtown: Death and Enchantment in a New England Ghost Town, which won the 2010 P.E.N. New England/L. L. Winship award in Nonfiction. A Boston Globe bestseller, Dogtown was named a “Must-Read Book” by the Massachusetts Book Awards and an Editors’ Choice Selection of the New York TiMes Sunday Book Review. -
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. -
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. -
The Influence of Gertrude Stein on Marsden Hartley’S Approach to the Object Portrait Genre Christal Hensley
One Portrait of One Woman: The Influence of Gertrude Stein on Marsden Hartley’s Approach to the Object Portrait Genre Christal Hensley Marsden Hartley’s 1916 painting One Portrait of One Woman Hartley’s circle that assembled abstract and/or symbolic forms is an object portrait of the American abstractionist poet and in works called “portraits.”4 writer Gertrude Stein (Figure 1). Object portraits are based on Although several monographs address Stein’s impact on an object or a collage of objects, which through their associa- Hartley’s object portraits, none explores the formal aspects of tion evoke the image of the subject in the title. In this portrait, this relationship.5 This paper first argues that Hartley’s initial the centrally located cup is set upon an abstraction of a checker- approach to the object portrait genre developed independently board table, placed before a half-mandorla of alternating bands of that of other artists in his circle. Secondly, this discussion of yellow and white, and positioned behind the French word posits that Hartley’s debt to Stein was not limited to her liter- moi. Rising from the half-mandorla is a red, white and blue ary word portraits of Picasso and Matisse but extended to her pattern that Gail Scott reads as an abstraction of the Ameri- collection of “portraits” of objects entitled Tender Buttons: can and French flags.1 On the right and left sides of the can- Objects, Food, Rooms, published in book form in 1914. And vas are fragments of candles and four unidentified forms that finally, this paper concludes that Hartley’s One Portrait of echo the shape of the half-mandorla. -
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. -
Art History and Arthuk Submitted by David Haskins Fine Arts
Art History ~eminar NATUR8: lN TH8 LlV8~ Of G~UNG!A O'K~EfFhl AND ARTHUk DOVE Submitted by David Haskins fine Arts Department ln partial fulfillment or the requirements tor the Degree or Master ot fine Arts Colorado State University Fort Collins, Colorado ~pring l~~<O LlS'l' OE' .t' l.l7UR!!.:S 1. Nature symbolized No. 2, 1914 P as t e l on 1 i n en , 1 8 " x 2 1 !::> I 8 ·· The Art Institute or Chicago, Altred Stieglitz collection 2. 1-rnsJ.c - Pmk and Blue 11, 1919 01.l on canvas ..:S~ 1/2" x 2'.::1" Emily .t'isher Landau J . J:'og Horns, 19 2 ~ 011 on canvas, 18" x 26" Colorado Springs .t' ine Arts Center Gitt ot Oliver ti. James 4. Black Ho.LJyhock, l:Jlue Larkspur, 19 L 9 Uil on canvas, 3b" x 30" ~he Metropolitan Museum or Art ~. P1eJ.ds Ot Urain As Seen Prom 'l'ra.ln, 1~31 Oil on canvas, 24" x 34" Albright-Knox Art Gallery, Buffalo, NY Gitt ot Seymour H. Knox 6 . Nature J:1orms, Gaspe, 19 3 2 Oil on canvas, 10" x ~4" hlstate ot Georgia O'Keette 1. JacJ-:-In-'11he-Puipit no. V, l:t30 Oil on canvas, 48" x 30" Estate ot Georgia o Keette 8. J'Villow, 19 3 9 Watercolor on paper, ~" x I" Ph1ll1ps Memorial Gallery ~. J:'llght, 1~43 wax emulsion on canvas, 12" x ~0" Elmira Bier, Arlington, Virginia i LIS 1r Of' l;' lGURES 10. Black .tJlace lJ, 1 :144 O i l on canvas , ~ 3 II 8 " x 3 0 '' Metropolitan Museum ot Art Altred Stieglitz Collection 11. -
Arthur Dove: a Retrospective
Arthur Dove: A Retrospective 1997-1998 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Arthur Dove: A Retrospective; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Beth Turner, Senior Curator, Elsa Smithgall, Curatorial Assistant and her predecessor, Leigh Bullard Weisblat, Assistant Curator Size: 3.3 linear feet; 8 document boxes Bulk Dates: 1996-1997 Inclusive Dates: 1887-1998 Repository: The Phillips Collection Archives, 1600 21st St NW, Washington, DC 20009 INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: none Preferred Citation: Arthur Dove: A Retrospective. The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. SPECIAL NOTE: Most of the Research Series materials in this collection were photocopied or acquired by The Phillips Collection with the appropriate permissions and/or payments, but are not owned by The Phillips Collection Archives, which consequently cannot grant copying, publication or reproduction rights to these materials. For these permissions, the originating repository must be contacted, which is the sole responsibility of the researcher (see „Related Material‟ below for some contact information). ABSTRACT Arthur Dove: A Retrospective exhibition records contain materials created and collected by the Curatorial Department of The Phillips Collection during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. Files for a one-gallery exhibition, Arthur Dove: Works on Paper, held during the dates of Arthur Dove: A Retrospective, have been made into their own collection housed in The Phillips Collection Archives. -
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.