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This book presents the fascinating untold story of art-world tastemaker Edith Halpert, who sold, promoted, and effectively defined American art in the 20th century.
In an era when American artists didn't count and women were expected to stay home, Edith Gregor Halpert burst onto the fledgling New York gallery scene, defying all cultural and societal rules. In 1926, Halpert, just twenty-six years old, opened one of the first art galleries in Greenwich Village and set about turning the art world upside down. Her Downtown Gallery, which she ran for forty-four years, laid the groundwork for the art market's modern era, and its aggressive promotion and sales tactics. Halpert cultivated the most illustrious art collectors of the day, invented the market for folk art, and pushed the first group of American artists working in a modern vernacular into the history books, including Stuart Davis, Jacob Lawrence, Georgia O'Keeffe, Ben Shahn, and Arthur Dove. Despite all this, Edith Halpert herself has been lost to history. Until now. In The Girl with the Gallery, journalist Lindsay Pollock brings Halpert and her era vividly back to life, tracing the story of how this remarkable woman, who started out a penniless Jewish immigrant, made it her mission to fight for American art and artists. Illlustrated with eight pages of full color photographs, this is biography at its finest, an unforgettable story of class, money, vanity, jealousy, and tragic loss.
After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.
Jacob Lawrence was one of the best-known African American artists of the twentieth century. In Painting Harlem Modern, Patricia Hills renders a vivid assessment of Lawrence's long and productive career. She argues that his complex, cubist-based paintings developed out of a vital connection with a modern Harlem that was filled with artists, writers, musicians, and social activists. She also uniquely positions Lawrence alongside such important African American writers as Langston Hughes, Richard Wright, and Ralph Ellison. Drawing from a wide range of archival materials and interviews with artists, Hills interprets Lawrence's art as distilled from a life of struggle and perseverance. She brings insightful analysis to his work, beginning with the 1930s street scenes that provided Harlem with its pictorial image, and follows each decade of Lawrence's work, with accounts that include his impressions of Southern Jim Crow segregation and a groundbreaking discussion of Lawrence's symbolic use of masks and masking during the 1950s Cold War era. Painting Harlem Modern is an absorbing book that highlights Lawrence's heroic efforts to meet his many challenges while remaining true to his humanist values and artistic vision.
How did the United States become not only the leading contemporary art scene in the world, but also the leading market for art? The answer has to do not only with the talents of American artists or even the size of the American economy, but also--and especially--the skills and entrepreneurship of American art dealers. Their story has not been told...until now. Landscape with Figures is the first history of art dealing in the United States, following the profession from eighteenth-century portrait and picture salesmen in the colonies to the high-profile, jet-set gallery owners of today. Providing anecdotal and carefully researched biographies of the prominent dealers from more than two centuries of trade, author Malcolm Goldstein shows how magnanimous personalities and social networking helped to shape the way Americans have bought and valued art. These dealers range from Michael Paff, whose enthusiasm often overshadowed his expertise but nonetheless helped him sell faux Old Master paintings to major collectors in the early nineteenth century; to the imperious Joseph Duveen, dealer to magnates like Henry Clay Frick; to visionary Leo Castelli, who helped to usher in a revolution in modern art during the 1960s by showing such avant-garde artists as Jasper Johns, Robert Rauschenberg, and Andy Warhol. Goldstein also shows that the American art trade, while male-dominated, has been galvanized by female dealers, including the inimitable Edith Gregor Halpert, Peggy Guggenheim, and Mary Boone. Their fascinating stories unfold in the context of world art history, the rise of major art institutions like the Museum of Modern Art and the Whitney Museum, and the growing zeal of art collectors who would eventually pay millions for individual works of art. Unprecedented and critical to understanding today's art world, Landscape with Figures is a must for artists, art history students, and art lovers.
The Museum of Modern Art is known for its prescient focus on the avant-garde art of Europe, but in the first half of the twentieth century it was also acquiring work by Stuart Davis, Georgia O’Keeffe, Charles Sheeler, Alfred Stieglitz, and other, less well-known American artists whose work sometimes fits awkwardly under the avant garde umbrella. American Modern presents a fresh look at MoMA’s holdings of American art from that period. The still lifes, portraits, and urban, rural, and industrial landscapes vary in style, approach, and medium: melancholy images by Edward Hopper and Andrew Wyeth bump against the eccentric landscapes of Charles Burchfield and the Jazz Age sculpture of Elie Nadelman. Yet a distinct sensibility emerges, revealing a side of the Museum that may surprise a good part of its audience and throwing light on the cultural preoccupations of the rapidly changing American society of the day.
In 1941, Jacob Lawrence, then just twenty-three years old, completed a series of sixty small tempera paintings with text captions about the Great Migration. Within months of its making, Lawrence's Migration series was divided between The Museum of Modern Art (even numbered panels) and the Phillips Memorial Gallery (odd numbered panels). The work has since become a landmark in the history of African-American art, a monument in the collections of both institutions, and a crucial example of the way in which history painting was radically reimagined in the modern era. In 2015 and 2016, marking the centenary of the Great Migration's start (1915-16), the panels will be reunited in exhibitions at The Museum of Modern Art and then The Phillips Collection. Published to accompany the exhibition, this publication both grounds Lawrence's Migration series in the cultural and political debates that shaped the young artist's work and highlights the series' continued resonance for artists and writers working today. An essay by Leah Dickerman situates the series in relation to heady contemporary discussions of the artist's role as a social agent; a growing imperative to write - and give image to - black history in the late 1930s and early 1940s; and an emergent sense of activist politics. Elsa Smithgall traces the exhibition history of the Migration panels from their display at the Downtown Gallery in New York in 1941 to their acquisition by MoMA and the Phillips Collection a year later. Short commentaries on each panel explore Lawrence's career and painting technique and aspects of the social history of the Migration portrayed in his images. The catalogue also debuts ten poems newly commissioned from acclaimed poets written in response to the Migration series. Elizabeth Alexander (honoured as the poet at President Obama's first inauguration) introduces the poetry project with a discussion of the poetic quality of Lawrence's work, as well as the impact and legacy of the poets in his orbit including Claude McKay and Langston Hughes.
Briefly examines the life and work of the twentieth-century African American painter, describing and giving examples of his art.
Rudolf Zwirner, “the man who invented the art market,” as coined in Der Spiegel, reflects on more than sixty years in the art business in his authoritative autobiography. “Americans now see Germany as a natural breeding ground for mighty gallerists and collectors, but Rudolf Zwirner’s fascinating new memoir walks us through the decades it took to rebuild an art world shattered by World War II. In this dealer’s charming telling, however, the work involved sounds more like play than labor.” —Blake Gopnik, author of Warhol An art dealer of the ages, Rudolf Zwirner, father of the esteemed gallerist David Zwirner, reached many milestones in his career. From cofounding Art Cologne, the first fair for contemporary art, in 1967, to showing works by Georg Baselitz, Gerhard Richter, and Andy Warhol, Zwirner transformed the contemporary art scene in Cologne. Born in 1933, he presented more than three hundred exhibitions from the early 1960s to 1992. In his autobiography, Zwirner reveals stories of artists, his gallery, and his most important collector, Peter Ludwig, whose collection forms the cornerstone of the Ludwig Museum in Cologne. First published in 2019 in German, and translated and adapted here for the first time in English, the book explores the most significant moments of Zwirner’s career and the fast-changing postwar art world. Also included in this edition is a new foreword by Lucas Zwirner, Rudolf’s grandson, who reflects on his grandfather’s role in bringing us to the global art landscape we find ourselves in now.