Arthur

Wesley Dow

Hiroshige, Ukiyo-e (1857)

Edward Steichen, The Fla(ron (1904), Gum

bichromate over pla=num print, the
Interna(onal Exhibi(on of Pictorial
Photography in 1910. (Architect Daniel Burnham)

Alfred S=eglitz, The Fla(ron

(Camera Work, October 1903)
Gela=n Silver Print
Whistler, Nocturne (1875)

Paul Strand, Wall Street (1915)

Originally published in Camera Work
Edward Steichen, The Fla(ron (1904), Gum
bichromate over pla=num print, originally
exhibited at the Interna(onal Exhibi(on of
Pictorial Photography in 1910. (Architect Daniel Burnham)

Straight Photography

Alfred S=eglitz, The Steerage (1907)

Alfred S=eglitz, The

Steerage (1907)

Alfred S=eglitz,
Equivalent (1926)

Inuen=al art theorists,

Clive Bell, Roger Fry:
idea signicant form is
universally understood,
unlike some content
Sigmund Freuds theory
of the unconscious
Carl Jungs universal soul
with common symbols

S=eglitzs Gallery 291 exhibi=ng Picassos

Stanton Macdonald Wright, Sketch for
Synchromie en bleu violace, (1913) at LACMA cubism alongside tradi=onal African art (1914)

The Armory Show

The Interna=onal Exhibi=on of Modern Art,
(1913) Gallery Map (online)
hbp://xroads.virginia.edu/
~MUSEUM/Armory/armoryshow.html

Photo taken outside the entrance to the

Armory, where the exhibit took place

Walt Kuhn, Arthur Davies, and Walter Pach

Pablo Picasso, Woman with Mustard

Pot (1910), Armory Show

Stuart Davis, Babe La Tour (1913), Armory Show

F.T. Marineg 1909 Futurist Manifesto

We want to exalt movements of aggression,
feverish sleeplessness, the double march, the
perilous leap, the slap and the blow with the
st.
We declare that the splendor of the world has
been enriched by a new beauty: the beauty of
speed. A racing automobile with its bonnet
adorned with great tubes like serpents with
explosive breath ... a roaring motor car which
seems to run on machine-gun re, is more
beau=ful than the Victory of Samothrace.

Max Weber, Rush Hour, New York (1915)

Italian Futurism: Giacoma Balla, Speed of a Motor Car (1913)

Marcel Duchamp, Nude Descending a Staircase no. 2 (1912)

Challenge arts mime-c func=on

Eadweard Muybridge

Jules E=enne Marey

Marcel Duchamp, Nude Descending a Staircase no. 2 (1912)

Marcel Duchamps The Fountain (1917)

(Photo by Alfred S=eglitz. Behind The Fountain is Marsden Hartleys pain=ng The Warriors, 19
The only works of art America has given are her
plumbing and her bridges. Marcel Duchamp

Readymades and assisted Readymades

Marcel Duchamps studio (1913): Bicycle Wheel is on the leT

Marcel Duchamp, Belle Haleine (1921)

Marcel Duchamp as Rrose Slavy, c. 1920

1921

Duchamp, LHHOQ

Marsden Hartley, Portrait of a German Ocer (1914)

Arthur Dove, Nature Symbolized, no. 2, c1911

Arthur Dove, Ale's Delight, 1929

Arthur Dove, Ralph Dusenberry, 1924

Arthur Dove, The Cri(c, 1925

Eugene Speicher, Georgia OKeee (1908)

Alfred S=eglitz, Georgia OKeee (1918) and (1926)

Georgia OKeee, Evening Star No. IV (1917)

Georgia OKeee, Jack-in-the-Pulpit No. IV (1930)

f64 West Coast Photography

Imogen Cunningham, Magnolia Blossom (1925)

Edward Weston, Pepper no. 30 (1930)

Modernisms: a usable past and eorts to create art that was American
Guidebook instructs what and how to see, to be a tourist
(does this remind you of the 19th century: in the way
tourists and viewers of landscape pain=ngs were instructed
to look?)
collec=ng

Interior of Fred Harvey resort

Ancient American Art--

Mimbres ceramic bowls, 1st-2nd century

authen=city:
Na=ve American performances

John Sloan, Indian Detour (1927)

Georgia OKeee

Cows SkullRed, White and Blue (1931)

LIFE magazine 1938

Shelf in OKeees NM studio

David Bradley, OKeee at

Work (1984)--parody

The Usable Past

Shelf in OKeees studio, NM

Georgia OKeee
Cows SkullRed, White and Blue (1931)
Charles Sheeler, Home Sweet Home (1931)

Retablo (c. 1816-1862)

Marsden Hartley, Santos, New Mexico (1919-1920))

The New Negro

Booker T. Washington, Alain Locke

The Harlem Renaissance

Winold Reiss, Langston Hughes (1925)

Palmer Hayden, Midsummer Night in Harlem (1938)

James Van Der Zee, Couple in Raccoon Coats (1932)

Jazz and sociability

Archibald Motley, Blues (1929)

Archibald Motley, Black Belt (1929)

Archibald Motley, The Jockey Club (1929)

Josephine Baker

The New Negro

Alain Locke The American Negro as Ar-st (1931)

Africanists/neo-primi-vists, tradi-onalists (folk/
vernacular), & modernists

Palmer Hayden,
Fe(sh and Flowers (c 1933)
Kuba cloth (African Congo) and
Fang gurine (Gabon)

Malvin Gray Johnson,

Negro Masks (1932)

Lois Mailou Jones,

Les Fe(ches (1938)

Aaron Douglas, Aspects of Negro Life:

The Negro in an African Sefng (1934)

Lois Mailou Jones, The Ascent of Ethiopia 1932

Augusta Savage, Gamin (1930)

Meta Warrick Fuller, Ethiopia Awakening (c 1921)

Sargent Johnson, Forever Free (1933)

(Approximately 36 x 11 x 9 inches)

African American subject maber: history and heroes

Hale Woodru, Mu(ny Aboard the Amistad 1839, Panel 1 (1939)

Golden State Mutual Life Insurance Company, LA

Nathaniel Johnson, Cinque (1839)

Hale Woodru, Mu=ny Aboard the Amistad