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"Art museums New York (State) New York History 20th century."
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MoMA PS1 : a history
Since its inception in the early 1970s, MoMA PS1 in Long Island City, Queens, has been a crucible for radical experimentation. Committed to New York City as well as to maintaining an international scope, PS1 has always put the artist at the center, engaging practitioners at work in every discipline from performance, music, dance, poetry and new media to painting, sculpture, photography and architecture. This groundbreaking publication captures the vibrancy of a long and venerable tradition that began with the legendary series of performances and events organized by founder Alanna Heiss under the Brooklyn Bridge in 1971. Organized into four main sections that delve into the former school's rich history as an art center during the 1970s, 1980s and 1990s up to the present, the book features in-depth conversations between Heiss and Klaus Biesenbach, the director of MoMA PS1 from 2010 to 2018, and more than 40 recollections by artists, curators and critics closely associated with the institution--including Marina Abramovic, James Turrell, agnلes b, Rebecca Quaytman, Carolee Schneemann and Andrea Zittel. Presenting extensive photographic documentation of historic exhibitions and performances and related ephemera from the archives, plus an illustrated chronology and comprehensive exhibition history, this indispensable volume offers a vivid chronicle of the extraordinary history of MoMA PS1.--Artbook, LLC website (viewed on October 28, 2019)
Book
Talking prices
How do dealers price contemporary art in a world where objective criteria seem absent?Talking Pricesis the first book to examine this question from a sociological perspective. On the basis of a wide range of qualitative and quantitative data, including interviews with art dealers in New York and Amsterdam, Olav Velthuis shows how contemporary art galleries juggle the contradictory logics of art and economics. In doing so, they rely on a highly ritualized business repertoire. For instance, a sharp distinction between a gallery's museumlike front space and its businesslike back space safeguards the separation of art from commerce.
Velthuis shows that prices, far from being abstract numbers, convey rich meanings to trading partners that extend well beyond the works of art. A high price may indicate not only the quality of a work but also the identity of collectors who bought it before the artist's reputation was established. Such meanings are far from unequivocal. For some, a high price may be a symbol of status; for others, it is a symbol of fraud.
Whereas sociological thought has long viewed prices as reducing qualities to quantities, this pathbreaking and engagingly written book reveals the rich world behind these numerical values. Art dealers distinguish different types of prices and attach moral significance to them. Thus the price mechanism constitutes a symbolic system akin to language.
eBook
The color of success
The Color of Successtells of the astonishing transformation of Asians in the United States from the \"yellow peril\" to \"model minorities\"--peoples distinct from the white majority but lauded as well-assimilated, upwardly mobile, and exemplars of traditional family values--in the middle decades of the twentieth century. As Ellen Wu shows, liberals argued for the acceptance of these immigrant communities into the national fold, charging that the failure of America to live in accordance with its democratic ideals endangered the country's aspirations to world leadership.
Weaving together myriad perspectives, Wu provides an unprecedented view of racial reform and the contradictions of national belonging in the civil rights era. She highlights the contests for power and authority within Japanese and Chinese America alongside the designs of those external to these populations, including government officials, social scientists, journalists, and others. And she demonstrates that the invention of the model minority took place in multiple arenas, such as battles over zoot suiters leaving wartime internment camps, the juvenile delinquency panic of the 1950s, Hawaii statehood, and the African American freedom movement. Together, these illuminate the impact of foreign relations on the domestic racial order and how the nation accepted Asians as legitimate citizens while continuing to perceive them as indelible outsiders.
By charting the emergence of the model minority stereotype,The Color of Successreveals that this far-reaching, politically charged process continues to have profound implications for how Americans understand race, opportunity, and nationhood.
eBook
Architecture and design at the Museum of Modern Art : the Arthur Drexler years, 1951-1986
\"This comprehensive history of the Museum of Modern Art's architecture and design department under the leadership of the highly influential curator Arthur Drexler assesses the department's impact on the shape and direction of twentieth-century architectural discourse\"--Provided by publisher.
Book
Gentile New York
The very question of \"what do Jews think about the goyim\" has fascinated Jews and Gentiles, anti-Semites and philo-Semites alike. Much has been written about immigrant Jews in nineteenth- and twentieth-century New York City, but Gil Ribak's critical look at the origins of Jewish liberalism in America provides a more complicated and nuanced picture of the Americanization process.
Gentile New Yorkexamines these newcomers' evolving feelings toward non-Jews through four critical decades in the American Jewish experience. Ribak considers how they perceived Gentiles in general as well as such different groups as \"Yankees\" (a common term for WASPs in many Yiddish sources), Germans, Irish, Italians, Poles, and African Americans. As they discovered the complexity of America's racial relations, the immigrants found themselves at odds with \"white\" American values or behavior and were drawn instead into cooperative relationships with other minorities. Sparked with many previously unknown anecdotes, quotations, and events, Ribak's research relies on an impressive number of memoirs, autobiographies, novels, newspapers, and journals culled from both sides of the Atlantic.
eBook
Things American
American art museums of the Gilded Age were established as civic institutions intended to provide civilizing influences to an urban public, but the parochial worldview of their founders limited their democratic potential. Instead, critics have derided nineteenth-century museums as temples of spiritual uplift far removed from the daily experiences and concerns of common people. But in the early twentieth century, a new generation of cultural leaders revolutionized ideas about art institutions by insisting that their collections and galleries serve the general public.
Things American: Art Museums and Civic Culture in the Progressive Eratells the story of the civic reformers and arts professionals who brought museums from the realm of exclusivity into the progressive fold of libraries, schools, and settlement houses. Jeffrey Trask's history focuses on New York's Metropolitan Museum of Art, which stood at the center of this movement to preserve artifacts from the American past for social change and Americanization. Metropolitan trustee Robert de Forest and pioneering museum professional Henry Watson Kent influenced a wide network of fellow reformers and cultural institutions. Drawing on the teachings of John Dewey and close study of museum developments in Germany and Great Britain, they expanded audiences, changed access policies, and broadened the scope of what museums collect and display. They believed that tasteful urban and domestic environments contributed to good citizenship and recognized the economic advantages of improving American industrial production through design education. Trask follows the influence of these people and ideas through the 1920s and 1930s as the Met opened its innovative American Wing while simultaneously promoting modern industrial art.
Things Americanis not only the first critical history of the Metropolitan Museum. The book also places museums in the context of the cultural politics of the progressive movement-illustrating the limits of progressive ideas of democratic reform as well as the boldness of vision about cultural capital promoted by museums and other cultural institutions.
eBook
Making Race
Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of \"racial art\" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices.
Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present.
eBook
i never knew what time it was
In this series of intricately related texts, internationally known poet, critic, and performance artist David Antin explores the experience of time—how it's felt, remembered, and recounted. These free-form talk pieces—sometimes called talk poems or simply talks—began as improvisations at museums, universities, and poetry centers where Antin was invited to come and think out loud. Serious and playful, they move rapidly from keen analysis to powerful storytelling to passages of pure comedy, as they range kaleidoscopically across Antin's experiences: in the New York City of his childhood and youth, the Eastern Europe of family and friends, and the New York and Southern California of his art and literary career. The author's analysis and abrasive comedy have been described as a mix of Lenny Bruce and Ludwig Wittgenstein, his commitment to verbal invention and narrative as a fusion of Mark Twain and Gertrude Stein. Taken together, these pieces provide a rich oral history of and critical context for the evolution of the California art scene from the 1960s onward.
eBook
The Problematic Past in the Work of Charles Sheeler, 1917–1927
This article examines the place of the past in Charles Sheeler's photographs and paintings made in Doylestown, Pennsylvania, around 1917, in New York City during the 1920s, and in the short film of New York, Manhatta (1921), which he made with the photographer Paul Strand. It situates these works in the context of the scholarship on Sheeler and on the art of New York in the early twentieth century, in particular that of the Ashcan School and of visual representation which attends to the architectural fabric of the city in preference to depicting its inhabitants. The article argues that although the scholarship has identified Sheeler's interest in making connections with the American past, it has not recognized the fraught nature of that relationship. By looking at the Doylestown and New York pictures, the analysis demonstrates how the problematic status of the past for Sheeler appears in these works as hauntings and absences.
Journal Article