scholarly journals Joseph Cornell et les surréalistes à New York : Dali, Duchamp, Ernst, Man Ray…

2014 ◽  
Author(s):  
Anne Foucault
Keyword(s):  
New York ◽  
Man Ray ◽  
Joseph Cornell

Levy, Julien (1906–1981)

2018 ◽  
Author(s):  
Nathaniel Stein
Keyword(s):  
New York ◽  
Modern Art ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Salvador Dali ◽  
Frida Kahlo ◽  
Alfred Stieglitz ◽  
Man Ray ◽  
The Moment ◽  
Joseph Cornell

New York-based art collector and gallerist, Julien Levy, was an important advocate for photography as a modern art medium in the 1930s and 1940s, and was instrumental in introducing the surrealist movement to New York. Levy studied at Harvard University in the mid-1920s, where his teachers included future tastemakers A. Everett ("Chick") Austin and Alfred Barr Jr. In 1926, Levy befriended Marcel Duchamp, with whom he traveled to Europe, circulating among the artistic avant-garde. Relationships with Man Ray, Mina Loy, Berenice Abbott, and others encouraged Levy’s activities as a collector and shaped the experimental spirit of the Julien Levy Gallery, which opened in New York in 1931. In the decade prior to the founding of the photography department at the Museum of Modern Art, Levy mounted exhibitions addressing the history of the medium and arguing for the avant-garde photography of the moment, much as Alfred Stieglitz had done in the 1910s and 1920s. More broadly, the Levy Gallery was an important—in some cases first—American venue for Surrealist-influenced artists including Manuel Álvarez Bravo, Henri Cartier-Bresson, Max Ernst, Frida Kahlo, Salvador Dalí, Arshile Gorky, Clarence John Laughlin, Pavel Tchelitchew, and Joseph Cornell.

Hopps, Walter (1932–2005)

2018 ◽  
Author(s):  
Ken D. Allan
Keyword(s):  
New York ◽  
Los Angeles ◽  
American Art ◽  
The United States ◽  
Art Museum ◽  
Pop Art ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
The 1960S ◽  
Joseph Cornell

Walter Hopps was an American art dealer and curator of modern and contemporary art. Best known for organizing the first museum retrospective of Marcel Duchamp in 1963 at the Pasadena Art Museum (now the Norton Simon), Hopps was a pioneering example of the independent, creative curator, a model that emerged in the 1960s in the United States From his start as an organizer of unconventional shows of California painters on the cultural fringe of conservative Cold War-era Los Angeles, Hopps became one of the most respected, if unorthodox, curators of his generation, holding a dual appointment at the end of his life as 20th-century curator at Houston’s Menil Collection and adjunct senior curator at the Solomon R. Guggenheim Museum in New York. Some of his noted exhibitions include: in Pasadena, a 1962 group show that helped to define pop art, The New Paintings of Common Objects; the first U retrospectives of Kurt Schwitters (1962) and Joseph Cornell (1967); Robert Rauschenberg retrospectives in 1976 and 1997 at the National Museum of American Art and Menil Collection, respectively; a 1996 survey of Edward Kienholz for The Whitney Museum of American Art; and a James Rosenquist retrospective in 2002 at the Guggenheim.

Assemblage

2018 ◽  
Author(s):  
Steven Pantazis
Keyword(s):  
Modern Art ◽  
Three Dimensional ◽  
Pablo Picasso ◽  
Early 20Th Century ◽  
Two Dimensional ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
Art Objects ◽  
Man Ray ◽  
Joseph Cornell

Assemblage is an artistic form that involves the transformation of non-art objects into two-dimensional or three-dimensional artistic compositions. Together with abstraction, it has been considered one of the two most significant innovations of modern art. The term assemblage was first used in 1953 by critic, philosopher and poet Max Loreau in describing French artist Jean Dubuffet’s series of imprint collages of butterflies’ wings. The term was popularized by the Museum of Modern Art’s 1961 exhibition The Art of Assemblage, which showcased the work of early 20th-century European artists, such as Marcel Duchamp, Pablo Picasso, George Braque and Kurt Schwitters, and Americans such as Joseph Cornell, Man Ray and Robert Rauschenberg.

Man Ray and New York Dada

Art Journal ◽  
1964 ◽  
Vol 23 (3) ◽  
pp. 207
Author(s):  
Carl Belz
Keyword(s):  
New York ◽  
New York Dada ◽  
Man Ray

Man Ray (1890-1976)

2018 ◽  
Author(s):  
Hazel Donkin
Keyword(s):  
New York ◽  
Pablo Picasso ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Critical Success ◽  
Fashion Photography ◽  
New York Dada ◽  
Man Ray ◽  
Artistic Career ◽  
Second World

Born Emmanuel Radnitzky, Man Ray was one of the key innovators in modernist photography, film, and object making. He began his artistic career as a painter, and while his interest in the medium endured, it was photography that brought him financial and critical success. In New York, Man Ray was introduced to the avant-garde while visiting Alfred Stieglitz’s 291 gallery and the Armory Show (1913). He met Marcel Duchamp in 1915 and, along with Picabia, the three men founded New York Dada. In 1921 Man Ray moved to Paris where he continued to produce experimental and provocative works, and was associated with the Paris dada group. Man Ray developed a lucrative portrait and fashion photography business, photographing cultural giants such as James Joyce and Pablo Picasso, earning him commissions from magazines such as Vogue. From 1924 photographic images became central in surrealist publications, and Man Ray’s intensely innovative approach was highly regarded by the founder of the group, André Breton. Man Ray developed a poetic that demonstrated the union of reality and imagination; he used found images, documentary images, film stills, and straight and experimental photography, including solarisation (a process he developed with Lee Miller). The Second World War forced him to leave Paris for the US, but he returned in 1951, where he resided until his death.

Berkman, Alexander (1870–1936)

2018 ◽  
Author(s):  
Jesse S. Cohn
Keyword(s):  
New York ◽  
World War I ◽  
William Carlos Williams ◽  
Wallace Stevens ◽  
American Modernism ◽  
Upton Sinclair ◽  
The First World War ◽  
Man Ray ◽  
Mother Earth ◽  
Emma Goldman

Alexander Berkman (21 November 1870–28 June 1936), while largely remote from literary concerns, was closely connected to a number of key modernist figures, helping to bring radical concerns to American modernism. Upon initial analysis, it might seem odd to include Berkman, editor of Mother Earth (1907–1918) and The Blast (1916–1917), in a reference work on modernism. As a lifelong anarchist militant, jailed for his attempt to assassinate industrialist Henry Clay Frick (1892) and deported for his opposition to the First World War I (1919), he was neither an author nor a critic of modernist works per se. However, his links to key modernist figures, particularly in New York, are numerous. Berkman’s Prison Memoirs of an Anarchist (1912) was reviewed in Margaret Anderson’s Little Review (1914), and lauded by Mabel Dodge Luhan. His ideas were debated in Dora Marsden and Harriet Shaw Weaver’s Egoist (1915–16), while Lola Ridge dedicated a poem to Berkman and his lover, Emma Goldman, in Reveille (1920). Additionally, the Ferrer Centre, a popular education initiative Berkman and Goldman sponsored in New York in 1911, drew participation from such figures as Eugene O’Neill, Hart Crane, Isadora Duncan, Jack London, Man Ray, Robert Henri, Upton Sinclair, Wallace Stevens, and William Carlos Williams. Berkman committed suicide while in exile in France.

Man Ray and New York Dada

Art Journal ◽  
1964 ◽  
Vol 23 (3) ◽  
pp. 207-213
Author(s):  
Carl Belz
Keyword(s):  
New York ◽  
New York Dada ◽  
Man Ray
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