Debating American Modernism: Stieglitz, Duchamp, and the New York Avant-Garde

Balken, Debra Bricker; Bochner, Jay; Covert, John; Crotti, Jean; Davis, Stuart; de Zayas, Marius; Demuth, Charles; Dove, Arthur; Schamberg, Morton; Sheeler, Charles; Stella, Joseph; Stettheimer, Florine; Storrs, John; Weber, Max; Wood, Beatrice

Published by D.A.P./American Federation of Arts, 2003
ISBN 10: 1891024493 / ISBN 13: 9781891024498
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Synopsis: When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature-based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects--the skyscraper and the machine. Meanwhile, the artists associated with Alfred Stieglitz and his "291" gallery remained loyal to their belief in nature as a source of ongoing renewal for visual culture, and emphasized the crucial role that intuition and spirituality played in their creation of art. The crossfire between Duchamp and Stieglitz and their respective circles defined a critical moment in early twentieth-century American art. Debating Modernism includes reproductions of work by artists from both camps, from Charles Demuth, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley. An essay by curator Debra Bricker Balken traces the threads of the debate through the 1910s and 20s, and also addresses the appearance of sexualized imagery in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed camps. Jay Bochner's essay focuses on the artists' respective violations of American expectations about art.

About the Author: Debra Bricker Balken is an independent curator and writer who works on aspects of modern and contemporary art. In addition to Debating Modernism, she has also curated the exhibitions Arthur Dove: A Retrospective and Alfredo Jaar: Lament of the Images. Her publications include Modernism: Challenges and Perspectives, Architecture and Cubism, and Philip Guston's Poor Richard.

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Title: Debating American Modernism: Stieglitz, ...
Publisher: D.A.P./American Federation of Arts
Publication Date: 2003
Binding: Hardcover
Book Condition: Used: Good

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Book Description Distributed Art Publishers, New York 2003., 2003. 8vo. 189pp. 84 plates. Illustrated endpapers. D/w. ISBN 1891024493 US$26. Bookseller Inventory # 112574

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Balken, Debra Bricker; Stieglitz, Alfred; Bochner, Jay; Duchamp, Marcel; Georgia O'Keeffe Museum; Terra Museum of American Art; Des Moines A
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Balken, Debra Bricker; Bochner, Jay; Covert, John; Crotti, Jean; Davis, Stuart; de Zayas, Marius; Demuth, Charles; Dove, Arthur; Schamberg, Morton; Sheeler, Charles; Stella, Joseph; Stettheimer, Florine; Storrs, John; Weber, Max; Wood, Beatrice
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Book Description Katalog, 2003. Als Duchamp 1915 von Paris nach New York zog, war er enttäuscht von der hauptsächlich naturbezogenen abstrakten Werken, die er überall sah. Er ließ öffentlich verlautbaren, dass amerikanische Künstler in zu hohem Maße abhängig wären von den veralteten europäischen Traditionen und darüber hinaus ihre eigentlich größten Themen - Wolkenkratzer und Technik - übersehen hätten. Indessen blieb die Künstlergemeinschaft um Alfred Stieglitz mit seiner »291« Galerie dem Glaube an die Natur treu und betonte die ausschlaggebende Rolle von Intuition und Spiritualität zur Erschaffung von Kunst. Das Kreuzfeuer zwischen Duchamp und Stieglitz und ihrer jeweils zugehörigen Kreise definierte ein signifikantes Moment in der amerikanischen Kunst des 20. Jahrhunderts. Es bedarf der Arbeiten von Künstlern beider Seiten, von Charles Demuth, Georgia O Keeffe und Paul Strand bis Man Ray, Francis Picabia und Marsden Hartley, um den Modernismus diskutieren zu können. Ein Aufsatz der Kuratorin Debra Bricker Balken spürt dem roten Faden der Debatte der ersten beiden Dekaden des 20. Jahrhunderts nach. Balken befasst sich u.a. mit dem Phänomen sexuell aufgeladener Symbole, das sich in den Arbeiten eigentlich aller dieser Künstler wiederfinden lässt und vereint so auf ironische Weise die beiden gegensätzlichen Künstlerkreise. In einem weiteren Essay befasst sich Jay Bochners mit den jeweiligen Verstößen der Künstler gegen die Erwartungen der Allgemeinheit an die amerikanische Kunst. 18,2 x 23,7 cm, 189 S., 116 Abb., davon 86 in Farbe, geb., Text auf Englisch. Bookseller Inventory # 354660

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Balken, Debra Bricker;Stieglitz, Alfred;Bochner, Jay;Duchamp, Marcel
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Book Description Distributed Art Publishers, Inc., NY, 2003. Hardcover. Book Condition: Very Good. Dust Jacket Condition: Very Good. 192 page hardcover exhibition catalog with many illustrations - color and b/w. Dust jacket is bright, crisp, complete and clean. Printed board exterior with Duchamp piece (Fountain) on front and title on spine in black. Interior is unmarked, tight and clean. Bookseller Inventory # 527712

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Debra Bricker Balken; Jay Bochner; John Covert; Jean Crotti; Stuart Davis; Marius de Zayas; Charles Demuth; Arthur Dove; Morton Schamberg; Charles Sheeler; Joseph Stella; Florine Stettheimer; John Storrs; Max Weber; Beatrice Wood; Marcel Duchamp; Photographer-Man Ray; Photographer-Alfred Stieglitz; Photographer-Paul Strand
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Debra Bricker Balken, Jay Bochner,
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Book Description Zzdap Publishing January 2003, 2003. Hardcover. Book Condition: Used - Good. When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature-based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects -- the skyscraper and the machine. Meanwhile, the artists associated with Alfred Stieglitz and his 291 gallery remained loyal to their belief in nature as a source of ongoing renewal for visual culture, and emphasized the crucial role that intuition and spirituality played in their creation of art. The crossfire between Duchamp and Stieglitz and their respective circles defined a critical moment in early twentieth-century American art. Debating Modernism includes reproductions of work by artists from both camps, from Charles Demuth, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley. An essay by curator Debra Bricker Balken traces the threads of the debate through the 1910s and 20s, and also addresses the appearance of sexualized imagery in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed camps. Jay Bochner's essay focuses on the artists' respective violations of American expectations about art. Book has minor shelf wear. Bookseller Inventory # 68449

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