Marius de Zayas (1880-1961), a Mexican artist and writer whose witty caricatures of New York's theater, dance, and social elite brought him to the attention of Alfred Stieglitz and his circle at "291," was among the most dedicated and effective propagandists of modern art during the early years of this century. How, When, and Why Modern Art Came to New York, originally written in the late 1940s, is a fascinating chronicle assembled from de Zayas's personal archive of photographs and from newspaper reviews of the exhibitions he discusses, beginning with those held at the Stieglitz gallery and including important shows mounted in his own galleries. An appendix added by the editor provides detailed information on the various exhibitions. Additional appendixes contain transcriptions of the de Zayas and Stieglitz correspondence, as well as an account of de Zayas's unique relationship with Picasso, a Spaniard with whom he felt a special kinship and whose work he would be among the first in America to promote and defend.

How, When, and Why Modern Art Came to New York

Arts & Photography

De Zayas, Marius

History & Criticism

MIT Press]

<p>When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature-based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects--the skyscraper and the machine. Meanwhile, the artists associated with Alfred Stieglitz and his "291" gallery remained loyal to their belief in nature as a source of ongoing renewal for visual culture, and emphasized the crucial role that intuition and spirituality played in their creation of art. The crossfire between Duchamp and Stieglitz and their respective circles defined a critical moment in early twentieth-century American art. Debating Modernism includes reproductions of work by artists from both camps, from Charles Demuth, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley. An essay by curator Debra Bricker Balken traces the threads of the debate through the 1910s and 20s, and also addresses the appearance of sexualized imagery in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed camps. Jay Bochner's essay focuses on the artists' respective violations of American expectations about art.</p>

Debating American Modernism: Stieglitz, Duchamp, and the New York Avant-Garde

WEBER, MAX

Balken, Debra Bricker

Stella, Joseph

Wood, Beatrice

Dove, Arthur

Bochner, Jay

Demuth, Charles

Davis,Stuart

Covert, John

Crotti, Jean

Schamberg, Morton

Sheeler, Charles

Stettheimer, Florine

Storrs, John

D.A.P./American Federation of Arts

Marius de Zayas. Le coffret: Quand, comment et pourquoi l'art moderne est allé de Paris à New York (French Edition)

De Zayas, Rodrigo

ATELIER BAIE

Writings on Art

RM/Ediciones MP/JP Morgan

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