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The Armory Show at 100 Modernism and Revolution Marilyn S Kushner 9780916141264 Books

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The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City, this ambitious exhibition of 1,400 works was the moment when the American public was introduced to European avant-garde art. This outstanding interdisciplinary volume re-examines the exhibition and its historical and cultural context. It includes over thirty essays by eminent scholars across diverse fields to evoke the wider social, political, and economic climate during the 1913 show.

The Armory Show at 100 Modernism and Revolution Marilyn S Kushner 9780916141264 Books

This is the volume put together by the New-York Historical Society to accompany their centennial retrospective of the great "International Exhibition of Modern Art" mounted in New York, Chicago and Boston from February to May 1913--now known universally simply as the "Armory Show" after its New York venue. The editors, Marilyn Satin Kushner and Kimberley Orcutt, both senior curators at the N-YHS, have done a magnificent job of marshaling a great amount of information and an extraordinary number of images into a broad and comprehensive exposition of the event, about as panoramic a view as one could want. They have achieved an excellent balance between considerations of the personalities of the organizers and principal actors, the historical and cultural contexts, relevant art movements and art-historical concerns and events leading up to it and the legacies it left behind, and it is all integrated in such a way that one comes away not only with a wealth of information but with a sense of having participated personally.

This is a ponderous tome of over 500 very large pages, but because of its elegant layout, sensibly-sized type with double-column printing, and many illustrations--the jacket text says there are over 350 of them--one never has the feeling of sitting over an encyclopedia. There are almost no pages without illustration or facing-page illustration, and there are frequent full-page and even double-page reproductions, all of outstanding color and clarity, and all amounting to a visual feast. (The book was produced by the excellent London publisher D Giles.) There is a total of thirty-one essays by twenty-six different contributors, all authorities in the fields on which they are writing. They are divided into six major headings: 1) "Organizers": essays on the artists principally responsible, their art and their contributions to the show; 2) "NY and the US in 1913": the cultural and historical context, i.e., the urban space, burgeoning feminism, "Greenwich Village modernism," the new musical culture (by Leon Botstein), the little literary and art magazines, etc.; 3) "The Exhibition," divided into European art and American art, each with a general introduction followed by a series of individual "case studies" on Duchamps, Matisse, Robert Henri, John Marin, et. al., and one essay each on drawings and prints; 4) "Responses," i.e., the show's reception by both the critics and the public (mixed, but overwhelmingly negative and derisory, despite the organizers' educational intentions and considerable efforts); 5) "Traveling Venues" on the fundamentally different presentations: 1400 works in New York, less than half that in Chicago, and less than a quarter that (and only European art) in Boston; and 6) "Legacy": an essay on the effect the show had on American dealers and collectors and a magisterial summary survey by Barbara Haskell, Curator of Early Twentieth Century Art at the Whitney, on the show's short-term and long-term consequences for the course of American art, in which she comes to some fascinating and surprising conclusions. All of these essays are clearly written, and I found all but one or two to be informative and very interesting, an impressive editorial feat given their diversity and miscellaneous perspectives. The volume concludes with a selected bibliography which is short but adequate, given that the essays themselves are thoroughly annotated with bibliographic detail; a complete 1913 Armory Show checklist; a list of works in the 1913 show by gallery; and a comprehensive index. The Armory Show was arguably the most important exhibition in the history of American art, and it is appropriate that its centennial anniversary has been commemorated with its own monumental exhibition and catalogue. This is an expensive book, but it is likely to be the most comprehensive retrospective we will have--or need--for some time to come, and it will be indispensable to any collection on American art, so I don't hesitate to recommend purchasing it even if it means stretching one's budget a bit. It's a great achievement and a delight to read.

Product details Paperback 512 pages Publisher Giles (February 1, 2014) Language English ISBN-10 0916141268

Tags : The Armory Show at 100: Modernism and Revolution [Marilyn S. Kushner] on Amazon.com. *FREE* shipping on qualifying offers. <div> The 1913 International Exhibition of Modern Art (or Armory Show) marked a turning point in the history of American art and culture. Organized by a small group of American artists and presented in the huge space of the 69th Regiment Armory in New York City,Marilyn S. Kushner,The Armory Show at 100: Modernism and Revolution,Giles,0916141268,Art & Art Instruction,Study & Teaching
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The Armory Show at 100 Modernism and Revolution Marilyn S Kushner 9780916141264 Books Reviews

The book is excellent and provides a very complete account of the original exhibition. However if you have seen the retrospective exhibition currently showing at the New York Historical Society you should be aware that some of the works in that exhibition are not illustrated in the book, which, since individual photos or files are not available, is mildly annoying. Considering the very large size of the original exhibition one hundred years ago, it is also a shame that more photos of those works from the original exhibition are not featured; in short, this volume, as large as it is, should not be taken as representative of the original exhibition.
Very Nice. The Leon Dabo painting is the best!
The New-York Historical Society marked the 100th anniversary of the 1913 Armory Show by staging a medium-size exhibition & by publishing this BIG book. I find the Armory Show endlessly fascinating; each essay here added something new to my understanding of the show & the cultural moment.

A note printed on the copyright page is essential "The images between essays are selected works that appeared in galleries designated A through R at the 1913 Armory Show. They appear in the order in which a 1913 visitor might have encountered them at the exhibition. Please see page 35 for a map of the galleries. / [white pine tree inside gray circle] Designates works in the 2013 exhibition The Armory Show at 100."

The 31 essays are
. [introduction] "A Century of the Armory Show Modernism & Myth" by Marilyn Satin Kushner.
ORGANIZERS OF THE ARMORY SHOW
. "Arthur B. Davies Hero or Villain?" by Kimberly Orcutt.
. "Walt Kuhn Armory Showman" by Gail Stavitsky.
. "Walter Pach Agent of Modernism" by Laurette E. McCarthy.
. "'So many thrills, so much excitement' Elmer MacRae's Role in the Armory Show" by Susan G. Larkin.
NEW YORK AND THE UNITED STATES CA. 1913
. "Greenwich Village Modernism`The Essence of It All Was Communication'" by Casey Nelson Blake.
. "The Armory Show in the Provisional City" by Max Page.
. "The Armory Show & the Transformation of American Culture" by Daniel H. Borus.
. "Echoes of the Armory Show Modern Music in New York" by Leon Botstein.
. "The 'Big Show' & the Little Galleries Alfred Stieglitz & the Search for Modern Art Photography in 1913" by Anne McCauley.
. "A`Wordminded People' Encounters the Armory Show" by Susan Hegeman.
. "1913 A Feminist Moment in the Arts" by Charles Musser.
THE [1913] EXHIBITION
EUROPEAN ART
. "Off to the Armory Show!" by Didier Ottinger.
Case Studies
. "'An Explosion in a Shingle Factory' Marcel Duchamp's `Nude Descending a Staircase (No. 2)'" by Francis M. Naumann.
. "'The Cuban who Outcubed the Cubists' Francis Picabia & the 1913 Armory Show" by Michael R. Taylor.
. "Henri Matisse at the Armory Show--& Beyond" by William C. Agee.
. "Brancusi's Busts Work in Progress" by Doina Lemny.
. "Puvis de Chavannes, Pioneer & Paragon of Modernism" by Aimee Brown Price.
AMERICAN ART
. "Slouching toward Modernism American Art at the Armory Show" by Virginia M. Mecklenburg.
Case Studies
. "Robert Henri's Manifesto" by Kimberly Orcutt.
. "A Pre-Emptive Strike John Marin & the Armory Show" by Martha Tedeschi.
. "Morgan Russell A`Barbarian' or American Avant-Garde in Paris?" by Marilyn Satin Kushner.
. "Morton Livingston Schamberg A Short Life, A Major Achievement" by William C. Agee.
WORKS ON PAPER
. "Drawings at the Armory The Currency of Change & Modernism" by Roberta J. M. Olson.
. "Revisiting Editions Prints in the Armory Show" by Marilyn Satin Kushner.
RESPONSES
. "'Public Verdict' Debating Modernism at the Armory Show" by Kimberly Orcutt.
. "Cubist Comedy & Futurist Follies The Visual Culture of the Armory Show" by Sarah Burns.
TRAVELING VENUES
. "'The Great Confusion' The Armory Show in Chicago" by Judith A. Barter.
. "'Unwept, unhonored, & unsung' The Armory Show in Boston" by Carol Troyen.
LEGACY
. "The Legacy of the Armory Show Fiasco or Transformation?" by Barbara Haskell.
. "'Creating a New Epoch' American Collectors & Dealers & the Armory Show" by Avis Berman.
Great essays as well as images. Learned much more than I thought I would. Best to read this before you see the exhibit.
I saw the exhibit of the most important art exhibition of the twentieth century. Believe it or not, the catalog is even better than a fine exhibit.
Numerous essays with many figures in color evaluate the exhibition and the culture of its time. Facsimile reproductions show excellent contemporary criticisms in 1913. The book is incomparably much more attractive than the volume published at the 50th anniversary in 1963 with mainly black and white figures and a brief discussion of the subjects.
This is the volume put together by the New-York Historical Society to accompany their centennial retrospective of the great "International Exhibition of Modern Art" mounted in New York, Chicago and Boston from February to May 1913--now known universally simply as the "Armory Show" after its New York venue. The editors, Marilyn Satin Kushner and Kimberley Orcutt, both senior curators at the N-YHS, have done a magnificent job of marshaling a great amount of information and an extraordinary number of images into a broad and comprehensive exposition of the event, about as panoramic a view as one could want. They have achieved an excellent balance between considerations of the personalities of the organizers and principal actors, the historical and cultural contexts, relevant art movements and art-historical concerns and events leading up to it and the legacies it left behind, and it is all integrated in such a way that one comes away not only with a wealth of information but with a sense of having participated personally.

This is a ponderous tome of over 500 very large pages, but because of its elegant layout, sensibly-sized type with double-column printing, and many illustrations--the jacket text says there are over 350 of them--one never has the feeling of sitting over an encyclopedia. There are almost no pages without illustration or facing-page illustration, and there are frequent full-page and even double-page reproductions, all of outstanding color and clarity, and all amounting to a visual feast. (The book was produced by the excellent London publisher D Giles.) There is a total of thirty-one essays by twenty-six different contributors, all authorities in the fields on which they are writing. They are divided into six major headings 1) "Organizers" essays on the artists principally responsible, their art and their contributions to the show; 2) "NY and the US in 1913" the cultural and historical context, i.e., the urban space, burgeoning feminism, "Greenwich Village modernism," the new musical culture (by Leon Botstein), the little literary and art magazines, etc.; 3) "The Exhibition," divided into European art and American art, each with a general introduction followed by a series of individual "case studies" on Duchamps, Matisse, Robert Henri, John Marin, et. al., and one essay each on drawings and prints; 4) "Responses," i.e., the show's reception by both the critics and the public (mixed, but overwhelmingly negative and derisory, despite the organizers' educational intentions and considerable efforts); 5) "Traveling Venues" on the fundamentally different presentations 1400 works in New York, less than half that in Chicago, and less than a quarter that (and only European art) in Boston; and 6) "Legacy" an essay on the effect the show had on American dealers and collectors and a magisterial summary survey by Barbara Haskell, Curator of Early Twentieth Century Art at the Whitney, on the show's short-term and long-term consequences for the course of American art, in which she comes to some fascinating and surprising conclusions. All of these essays are clearly written, and I found all but one or two to be informative and very interesting, an impressive editorial feat given their diversity and miscellaneous perspectives. The volume concludes with a selected bibliography which is short but adequate, given that the essays themselves are thoroughly annotated with bibliographic detail; a complete 1913 Armory Show checklist; a list of works in the 1913 show by gallery; and a comprehensive index. The Armory Show was arguably the most important exhibition in the history of American art, and it is appropriate that its centennial anniversary has been commemorated with its own monumental exhibition and catalogue. This is an expensive book, but it is likely to be the most comprehensive retrospective we will have--or need--for some time to come, and it will be indispensable to any collection on American art, so I don't hesitate to recommend purchasing it even if it means stretching one's budget a bit. It's a great achievement and a delight to read.