Author: Marjorie PhillipsPublisher:
ISBN:
Category : Art
Languages : en
Pages : 424
Book Description
Duncan Phillips and His Collection
Author: Marjorie PhillipsPublisher:
ISBN:
Category : Art
Languages : en
Pages : 424
Book Description
Master Paintings
Author: The Enchantment of Art
Author: Duncan PhillipsDuncan and Marjorie Phillips and America's First Museum of Modern Art (B&W)
Author: Pamela Carter-BirkenPublisher:
ISBN: 9781648893278
Category :
Languages : en
Pages : 176
Book Description
He was born to privilege and sought the world of art. She lived at the center of that world-a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City's Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan's writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art-or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection's relevancy comes from Duncan Phillips's commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips's methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O'Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America's first museum of modern art.
Latinx Art
Author: Arlene DávilaPublisher: Duke University Press
ISBN: 1478008857
Category : Art
Languages : en
Pages : 160
Book Description
In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.
Seeing Differently: The Phillips Collects for a New Century
Author: David C. DriskellPublisher: Giles
ISBN: 9781911282761
Category : Art
Languages : en
Pages : 360
Book Description
An expansive collection catalogue that offers a multiplicity of fresh perspectives on recent modern and contemporary art acquisitions in The Phillips Collection
The Eye of Duncan Phillips
Author: Duncan PhillipsPublisher: Yale University Press
ISBN: 9780300080902
Category : Art
Languages : en
Pages : 820
Book Description
This book is both a survey of the major European and American works in The Phillips Collection in Washington, D.C., and a guide to the museum's holdings and significance. A study of the history of taste in twentieth-century America, it documents the evolution of modernism as well as the pivotal role played by Duncan Phillips (1886-1966) as a critic and collector.
DUNCAN PHILLIPS AND HIS COLLECTION.
Author: Laszlo Moholy-Nagy
Author: Joyce TsaiPublisher: Univ of California Press
ISBN: 0520290674
Category : Art
Languages : en
Pages : 242
Book Description
"Laszlo Moholy-Nagy is the first monograph on Moholy to attend to the fraught but central role painting played in shaping his aesthetic project. His reputation has been that of an artist far more interested in exploring the possibilities offered by photography, film, and other new media than in working with what he once called the 'anachronistic' medium of painting. And yet, with the exception of the period between 1928 and 1930, Moholy painted throughout his career. Joyce Tsai argues that his investment in painting, especially after 1930, emerged not only out of pragmatic and aesthetic considerations, but also out of a growing recognition of the economic, political, and ethical compromises required by his large-scale, technologically mediated projects aimed at reforming human vision. Without abandoning his commitment to fostering what he called New Vision, Moholy came to understand painting as a particularly plastic field in which the progressive possibilities of photography, film and other emergent media could find provisional expression."--Provided by publisher.
Collecting as Modernist Practice
Author: Jeremy BraddockPublisher: JHU Press
ISBN: 1421403641
Category : Literary Criticism
Languages : en
Pages : 334
Book Description
In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression—the art collection, the anthology, and the archive—and their importance in the development of institutional and artistic culture in the United States. Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting. Collecting as Modernist Practice demonstrates that modernism's cultural identity was secured not so much through the selection of a canon of significant works as by the development of new practices that shaped the social meaning of art. Braddock has us revisit the contested terrain of modernist culture prior to the dominance of institutions such as the Museum of Modern Art and the university curriculum so that we might consider modernisms that could have been. Offering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of The New Negro anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States. -- John Xiros Cooper, The University of British Columbia