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  Defining modern art : selected writings of Alfred H. Barr, Jr.

Barr, Alfred H
Other(s) author(s) : Sandler, Irving, [editore] ; Newman, Amy, [editore]Language : EnglishNew York : Harry N. Abrams, 1986302 orrialde : zuri-beltzeko argazkiak ; 25 cm(Ikus) Testua: bitartekorik gabeISBN : 0-8109-0715-1.Modern painting -- 20th century | Modern art -- 20th-21st centuries | Translated as : La definición del arte moderno
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Arteleku 111 BAR def (Browse shelf) Available 643732

Bibliografia: 274-293 orrialdeetan.

Before Alfred Barr there was no museum in America devoted exclusively to exhibiting art by living artists on a continuing basis. Barr, an exacting intellectual, a man of unyielding principle, an influential tastemaker, and an inspired teacher brought such a museum into being -The Museum of Modern Art in New York- founded in 1929, when he was only twenty-seven. But from the start Barr's vision of the scope of a museum went beyond painting and sculpture. And so the Museum exhibited architecture, machine-made products for the home, well-designed automobiles, films, posters, typography- all in addition to maintaining an innovative and busy schedule of shows of painting and sculpture. Through this concept of a museum Barr was largely responsible for the way things look today: our cars, our houses, our furniture, our clothes, books, and advertisements.
This collection of Barr's writings -many of which appeared in journals that are no longer in print or are otherwise inaccessible- is the first to enable us to survey the entire span of his contributions. The 35 pieces reprinted here, ranging over forty years, begin when Barr was teaching at Wellesley College, outside Boston, where he gave the first college course in the country dealing solely with contemporary culture (the questionnaire he devised to determine whether students qualified for this course is among the pieces reprinted). In these pages of stimulating discourse readers can witness the dramatic shifts in public taste as Cubism and Abstract Expressionism became familiar -to a great extent through the evangelism of Alfred Barr- and can watch the beleaguered Barr struggle with disgruntled artists, uncomprehending trustees, and a jeering press.
Politics was never alien to Barr. As early as 1927 he went to Russia, where he observed how the Russian system leashed its artists to propaganda in the service of the state. He noted the same pattern in the service of the state. He noted the same pattern in Germany as Hitler came to power. And in 1936, when the Spanish Civil War erupted, he hailed Picasso's "Guernica", the famous canvas painted in response to the German bombing of Basque civilians, which Barr sheltered in the Musuem for forty years, until democracy returned to Spain. [...]

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