Collecting as modernist practice

著者

    • Braddock, Jeremy

書誌事項

Collecting as modernist practice

Jeremy Braddock

（Hopkins studies in modernism）（Johns Hopkins paperbacks）

The Johns Hopkins University Press, 2013

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注記

Includes bibliographical references (p. [279]-299) and index

内容説明・目次

内容説明

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.

目次

Acknowledgments Introduction: Collections Mediation Modernist 1. After Imagisme The Lyric Year and the Crisis in Cultural Valuation The Anthology as Weapon The Others Formation Reprisal Anthologies 2. The Domestication of Modernism: The Phillips Memorial Gallery in the 1920s Pictorial Publicity Subconscious Stimulation, a Professional Public Sphere Problems in Collecting Pictures Akhenaten, Patron of Modernism 3. The Barnes Foundation, Institution of the New Psychologies Against Dilettantism A System for the New Spirit Collection and Institution The Art of Memory in the Age of the Unconscious 4. The New Negro in the Field of Collections Sage Homme Noir Precursor Anthologies Coterie, Movement, Race The Heritage of The New Negro Downstairs from the Harlem Museum 5. Modernism's Archives: Afterlives of the Modernist Collection Two Termini Two Consecrations Two Archives Notes Bibliography Index

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