An indispensable addition to a modern art library tracing de Zayas's and Stieglitz's influence on the New York art world beginning as early as 1915. Though it seems inconceivable that Picasso, Giorgio de Chirico, Rodin, or Matisse ever had to be "introduced," they were in fact presented to American society and de Zayas's essays and commentary are credited with providing the intellectual foundation with which to understand and appreciate these artistic developments. Editor Naumann has done a fine job constructing several appendices detailing exhibition information, correspondence, and press reviews. The photograph selection is well-considered and features some representations of work which has been lost or destroyed. Annotation c. by Book News, Inc., Portland, Or.

How, When, and Why Modern Art Came to New York

Arts & Photography

Naumann, Francis M.

Dezayas, Marius

History & Criticism

Mit Pr

For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and queerer-looking paintings and constructions of a mixed bag of European and American avant-gardists. Besides the inscrutable figure of artist Marcel Duchamp, the European contingent included such iconoclastic visitors as the playboy painter Francis Picabia, the composer Edgard Varese, the diplomat Henri-Pierre Roche (author of Jules et Jim and adviser to the extraordinary collector John Quinn), and painters Albert Gleizes and Jean Crotti. Among the Americans were the photographer/painter/constructor Man Ray, the Precisionist painter and Fortune photographer Charles Sheeler, the Futurist Joseph Stella, and the Pennsylvania artists Charles Demuth and Morton Schamberg. New York Dada is the first comprehensive study devoted exclusively to the accomplishments of these vanguard artists in America in the period 1915-23 - among the most underappraised, though most influential peri

New York Dada 1915-23

Harry N. Abrams

Examines how appropriation and replication were essential to Duchamp's art and disscusses the significance of the many replicas that he created or authorized

Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction

Wallace Putnam (1899-1989) burst upon the New York art scene in 1936 with a large assemblage provocatively entitled Agog, prominently displayed in the entranceway to a major exhibition of Dadaist and Surrealist art at The Museum of Modern Art. Though he went on to create a highly innovative body of work that was shown in major museums, Putnam remains underappreciated, deserving of the reassessment that this first study of his art will stimulate.Putnam's work is largely figurative, with elements of abstraction. Art lovers will relish this opportunity to discover a significant yet too-long-ignored artist whose paintings -- appealing, colorful canvases depicting the human figure, birds, animals, and landscapes -- can today be found in major private and public collections.

Wallace Putnam

Making Mischief: Dada Invades New York, the catalogue for the landmark exhibition at the Whitney Museum of American Art in 1996, proposes that Dada was not only important to the growth of American modernism, but that the ferment of New York played a critical role in the continuing photographs, and related documentary material records the achievements of the French emigres Marcel Duchamp and Francis Picabia, the American expatriate Man Ray, as well as American artists Charles Demuth, Katherine Dreier, Charles Sheeler, Joseph Stella, Florine Stettheimer, Clara Tice, and Beatrice Wood.

Making Mischief: Dada Invades New York

Watson, Steven

Krauss, Rosalind E.

Jones, Amelia

Whitney Museum of American Art

Tashjian, Dickran

Antliff, Allan

Venn, Beth

Nesbit, Molly

Rosenblum, Robert

Zabel, Barbara

Henderson, Linda Dalrymple

Alden, Todd

Bochner, Jay

Davidson, Abraham

WHITNEY MUSEUM OF ART.

Conversion to Modernism: The Early Work of Man Ray

Man Ray (1890–1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work—significant not only for comprehending Man Ray’s future artistic development, but also for fleshing out our understanding of the visual arts in America during one of the most important and crucial phases of the evolution of modernism. The book, and the exhibition for which this work will serve as the catalog, concentrate on Man Ray’s production from 1907 to 1917. Conversion to Modernism will be the first comprehensive, fully illustrated work to examine this artist’s seminal years. The show and the catalog begin with Man Ray’s high school years in Brooklyn, his studies at the Art Students League and the American Academy in New York, and the time he spent in life drawing classes at the more progressive Ferrer Center From 1913 to 1915, Man Ray lived in a small artists’ colony in Grantwood, New Jersey. It was here, studying with Samuel Halpert (a former student of Matisse), that Man Ray began to become the artist we know today. The last section of the show and of the book include recently discovered photographs and other works that are influenced by a knowledge of the emergent Dada movement. Here is Man Ray in recognizable form just before he leaves the country for France in 1921. This exhibit will first be on display at the Montclair Art Museum from January 26 through March 2003. It will then travel to museums in Athens, Georgia, Philadelphia, and Chicago.

Rutgers University Press

Man Ray (1890–1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work—significant not only for comprehending Man Ray’s future artistic development, but also for fleshing out our understanding of the visual arts in America during one of the most important and crucial phases of the evolution of modernism. The book, and the exhibition for which this work will serve as the catalog, concentrate on Man Ray’s production from 1907 to 1917. Conversion to Modernism will be the first comprehensive, fully illustrated work to examine this artist’s seminal years. The show and the catalog begin with Man Ray’s high school years in Brooklyn, his studies at the Art Students League and the American Academy in New York, and the time he spent in life drawing classes at the more progressive Ferrer Center From 1913 to 1915, Man Ray lived in a small artists’ colony in Grantwood, New Jersey. It was here, studying with Samuel Halpert (a former student of Matisse), that Man Ray began to become the artist we know today. The last section of the show and of the book include recently discovered photographs and other works that are influenced by a knowledge of the emergent Dada movement. Here is Man Ray in recognizable form just before he leaves the country for France in 1921. This exhibit will first be on display at the Montclair Art Museum from January 26 through March 2003. It will then travel to museums in Athens, Georgia, Philadelphia, and Chicago.

The Mary and William Sisler Collection/No: 591

Museum of Modern Art

Preface: It is with great pleasure that the Curt Marcus Gallery presents an exhibition based on the artistic strategy of appropriation. In its more profound conceptual implications, appropriation has intrigued artists, critics, and even philosophers since it first appeared in the mid-1960s (and again with a new generation of artists in the 80s). Organized by noted Dada scholar Francis M. Naumann, this exhibition concentrate on work appropriated after Marcel Duchamp, the first artist in this century to consciously and systematically replicate his own work (ironically in an effort to avoid repeating himself). With great conviction, we believe that the four artists whose work is included in this exhibition - Richard Pettibone, Elaine Sturtevant, Sherrie Levine, and Mike Bidlo - are the purest and most logical inheritors of Duchamp's lasting legacy. In Naumann informative and provocative essay, he not only provides a survey of the work these artists appropriated after Duchamp, but in his conclusion, he addresses issues that are at the core of the appropriative process. It is hoped that this exhibition and its accompanying catalogue will contribute to a greater understanding of these artists' work-as well as the ideas that inspired it.... "What appears most important and original in Naumann's study is how he has managed to redirect the complexity of Duchamp's cerebral achievement and apply it to an understanding of four younger artists whose appropriated work, from my vantage point, represents the ultimate legacy of Duchamp's most important and critical contribution to the history of twentieth century art." - 
Robert Rosenblum, Prof of Fine Arts, NYU..."For quite a long time, I kept hoping that appropriation art was not something I had to think about. Well, I was wrong. In this lively and spirited essay, Francis Naumann shows us why, and reveals yet another aspect of Duchamp's protean influence." -  Calvin Tomkins, New Yorker writer

Apropos of Marcel: Making Art after Marcel Duchamp in the Age of Mechanical Reproduction

Curt Marcus

Marcel Duchamp was both an artist and a chess player, but until now, little was known of his chess activities. In analyzing Duchamp's games--seeing how he reacted in specific situations during play--we can better understand how his mind worked, and gain insight into the strategies that motivated his work as an artist. Duchamp saw a correlation between art and chess, and actively sought opportunities to combine the two seemingly unrelated disciplines. Not only did he love the game, but he was aware of the reputation of chess as an intensely cerebral pursuit, and to the end of his life, he remained committed to challenging the French adage "d'être bête comme un peintre" ("to be stupid like a painter"), raising his art to equivalently complex, intellectual heights. Naumann shows us just how deeply intertwined the two activities were for Duchamp.

Marcel Duchamp: The Art of Chess

Shahade, Jennifer

Bailey, Bradley

Ready Made Pr

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