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On February 17, 1913, the American Association of Painters and Sculptors opened the Armory Show in New York. The ad-hoc association had started out with the modest goal of showing some of the ¿new¿ art coming out of Europe--Duchamp, Matisse, Picasso and many more of today¿s acknowledged masters. What they ultimately created was a sprawling showcase of some of the most ground-breaking (many said subversive) art America had ever seen. This volume includes original documents from this exhibition, and collects the complete text of "For and Against: Views on the Infamous 1913 Armory Show" (ISBN 978-0-9823257-1-1) and "The New Spirit: Pamphlets from the Infamous 1913 Armory Show" (ISBN 978-0-9823257-2-8)
On February 17, 1913, the American Association of Painters and Sculptors opened the Armory Show in New York. The ad-hoc association had started out with the modest goal of showing some of the "new" art coming out of Europe--Duchamp, Matisse, Picasso and many more of today’s acknowledged masters. What they ultimately created was a sprawling showcase of some of the most ground-breaking (many said subversive) art America had ever seen. "For and Against" is the frank and engaging account of this historic show's original reception, capturing the full range of impassioned opinion both for and against the new art. First published, remarkably, by the show's organizers and sold at its Chicago venue, "For and Against" has long been out of print, but this new, expanded edition brings the Armory story to life once again.
From the weekly shopping list to the Ten Commandments, our lives are shaped by lists. Whether dashed off as a quick reminder, or carefully constructed as an inventory, this humble form of documentation provides insight into its maker's personal habits and decision-making processes. This is especially true for artists, whose day-to-day acts of living and art-making overlap and inform each other. Artists' lists shed uncover a host of unbeknownst motivations, attitudes, and opinions about their work and the work of others. Lists presents almost seventy artifacts, including "to do" lists, membership lists, lists of paintings sold, lists of books to read, lists of appointments made and met, lists of supplies to get, lists of places to see, and lists of people who are "in." At times introspective, humorous, and resolute, but always revealing and engaging, Lists is a unique firsthand account of American cultural history that augments the personal biographies of some of the most celebrated and revered artists of thelast two centuries. Many of the lists are historically important, throwing a flood of light on a moment, movement, or event; others are private, providing an intimate view of an artist's personal life: Pablo Picasso itemized his recommendations for the Armory Show in 1912; architect Eero Saarinen enumerated the good qualities of the then New York Times art editor and critic Aline Bernstein, his second wife; sculptor Alexander Calder's address book reveals the whos who of the Parisian avant-garde in the early twentieth century. In the hands of their creators, these artifacts become works of art in and of themselves. Lists includes rarely seen specimens by Vito Acconci, Leo Castelli, Joseph Cornell, Hans Hofmann, Franz Kline, Willem de Kooning, Lee Krasner, H. L. Mencken, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Clyfford Still, and Andrew Wyeth.
A groundbreaking re-examination of the seminal 1913 New York art show.
"Explores the career of Walter Pach (1883-1958), an influential figure in twentieth-century art and culture. As critic, agent, liaison, and lecturer, Pach helped win the acceptance of modern European, American, and Mexican art throughout the North American continent"--Provided by publisher.
Collects the private correspondence between Georgia O'Keeffe and Alfred Stieglitz, revealing the ups and downs of their marriage, their thoughts on their work, and their friendships with other artists.
Walt Kuhn (1877-1949) is best known for his bold, modernist paintings of showgirls and circus performers. He was deeply involved with theater and the circus for much of his life, and his work was informed by years of close observation. Combining a modernist impulse with a showman's instincts, Kuhn created portraits that penetrate the veneer of burlesque shows and circuses as well as vigorously rendered still lifes. Kuhn was one of the principal organizers of the 1913 Armory Show, and from about 1922 to 1925, he also turned theater professional, writing and directing satirical skits and pantomimes. In the late 1920s, his mature style emerged through a unique melding of modernist principles with an updated realism. This first major exhibition catalogue of Kuhn's work in decades, timed to coincide with the 100th anniversary of the Armory Show, brings his work back into the spotlight.