American Art in the 20th Century - Painting and Sculpture, by Christos M. Joachimides, David Anfam, Norman Rosenthal

By Christos M. Joachimides, David Anfam, Norman Rosenthal

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Kushner, Russell, Alontclair, >sji Levin, op. , p. Morgan 1990. 43, suggests Kandinsk\''s influence. 6. , pp. 40-3. See Man,' Gedo, Maniare Daivson, exhibition catalogue, Chicago, Museum of ContemporArt, 1976. In 1908, because of a rise in the rent, Stieglitz moved from 291 Fifth Avenue across the hall ar\- 7- to 293. The wall was removed, and one elevator was used for the two buildings. Stieglitz, though, continued to use the name which he found more euphonious. William I. Homer, Alfi-ed Stieglitz.

Yet even in Europe, time, such as Bruce lived there continuously American painters would have known something of the Show. Generally, either experience or even merely knowledge of the Armor)' Show would have encouraged and assured those artists in Europe and America who had already committed themhad not embarked on some solitary venture. selves to avant-gardism that they Pre-dating the Armory Show, Fig. inip, \'iidc Descending a Museum of Art; Louise and Walter Arensberg Collection Staircase, 191 2.

Idea of micro-politics has energized many marginal not acknowledge the link, there are some 1950s interest-group politics, of history' again (to made some with extent Francis its It is true that the groups, and while radicals would similarities to the more positive aspects of notion of incremental gain. But talk of 'the end Fukuyama is recapitulating Daniel Bell) has once power difficult to ask. Intellectuals have reduced the big questions about ambitions and mostly seek productive ways to inhabit and (another 1950s echo) negotiate the institutions demics, with their this of own a post-modern society.

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