Relevant bibliographies by topics / Alfred H. Barr, Jr

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Alfred H. Barr, Jr'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Alfred H. Barr, Jr"

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Smith, Ralph Alexander. "MoMA as Educator: The Legacy of Alfred H. Barr, Jr." Journal of Aesthetic Education 39, no. 2 (2005): 97–103. http://dx.doi.org/10.1353/jae.2005.0022.

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Nelson, Adele. "The Bauhaus in Brazil: Pedagogy and Practice." ARTMargins 5, no. 2 (June 2016): 27–49. http://dx.doi.org/10.1162/artm_a_00146.

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This article analyzes the rhetorical and discursive resonance of the claims by artists and art professionals in Brazil in the 1950s of a connection to the Bauhaus. I examine the curricula of two new art schools established in São Paulo and Rio de Janeiro, emphasizing the role of central figures, including Mário Pedrosa, and the works by artists trained at the schools, and study paintings by Lygia Clark that in part elicited Alfred H. Barr, Jr. in 1957 to dismiss Brazilian contemporary art as “Bauhaus exercises.” Rather than a case of imitation, as Barr suggested, Brazilian actors transformed Bauhaus ideas, mediated by Cold War re-interpretations of the German school and its approaches to artistic education, to articulate tactics of citation and adaptation and to assert a non-derivative, radical conception of modernism.
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Marshall, Jennifer. "Common Goods: American Folk Crafts as Sculpture at the Museum of Modern Art, New York City, 1932—33." Prospects 27 (October 2002): 447–65. http://dx.doi.org/10.1017/s0361233300001289.

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During New York City's newly opened Museum of Modern Art's (MoMA's) fourth exhibition season of 1932–33, while director and intellectual leader Alfred H. Barr, Jr. was on sabbatical leave in Europe, interim director Holger Cahill mounted a show of 18th- and 19th-century American arts and crafts. Offered for sale in New England as antiques at the time of the show, the items on display in Cahill's American Folk Art: The Art of the Common Man in America 1750–1900 obscured the divisions between the avant-garde and the traditional, between high art and the everyday object. In an exhibit of items not easily categorized as modern nor properly considered art, MoMA admitted such local antiques and curiosities as weather vanes and amateur paintings into spaces otherwise reserved for the likes of Cézanne and Picasso.
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Dickerman, Leah. "An Introduction to Jere Abbott's Russian Diary, 1927–1928." October 145 (July 2013): 115–24. http://dx.doi.org/10.1162/octo_a_00150.

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In 1978, in its seventh issue, October published the travel diaries written by Alfred H. Barr, Jr., who would go on to become the founding director of the Museum of Modern Art, during his two-month sojourn in Russia in 1927–28. They were accompanied by a note from Barr's wife, Margaret Scolari Barr, who had made the documents available, and an introduction written by Jere Abbott, an art historian and former director of the Smith College Museum of Art who had returned to his family's textile business in Maine. Abbott and Barr had made the journey together, traveling from London in October 1927 to Holland and Germany (including a four-day visit to the Bauhaus) and then, on Christmas Day 1927, over the border into Soviet Russia. Abbott, as Margaret Barr had noted, kept his own journal on the trip. Abbott's, if anything, was more detailed and expansive in documenting its author's observations and perceptions of Soviet cultural life at this pivotal moment; and his perspective offers both a complement and counterpoint to Barr's. Russia after the revolution was largely uncharted territory for Anglophone cultural commentary: This, in combination with the two men's deep interest in and knowledge of contemporary art, makes their journals rare documents of the Soviet cultural terrain in the late 1920s. We present Abbott's diaries here, thirty-five years after the publication of Barr's, with thanks to the generous cooperation of the Smith College Museum of Art, where they are now held.
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Vallance, Elizabeth. "Sybil Gordon Kantor. Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art. Cambridge MA: The MIT Press, 2002. 496 pp. Cloth $45.00, paper $18.95." History of Education Quarterly 45, no. 4 (2005): 656–58. http://dx.doi.org/10.1017/s0018268000040498.

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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.

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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the Oktiabr' (October) group, a body of artists—many former Constructivists—working in varied media but united in their rejection of easel painting in favor of works intended for public display and mass audiences. Rivera also received a commission from Anatolli Lunacharsky, the first Soviet Commissar of Enlightenment, for a fresco cycle (ultimately unrealized) at the Red Army's headquarters. As Maria Gough argues in this issue, the group of drawings, long assumed to be from a single notebook, is likely an amalgamation of sketches created during two distinct events, the tenth-anniversary celebrations in November 1927 and the May Day festivities of the following year. Rivera's sketches capture his reaction to these officially mandated public demonstrations—spectacles so large in scale that they defined a new type of mass political event. In January 1928, Rivera met two young American scholars—Alfred H. Barr Jr. and Jere Abbott, the future director and associate director of the Museum of Modern Art, New York, respectively—who were on the Russian leg of a European tour designed as an education in contemporary artistic developments. The three met regularly, visiting exhibitions and the studios of Moscow-based artists. The fruits of this unlikely friendship between a radical art-world celebrity and two fledgling art historians were seen in Rivera's one-man show at MoMA in the winter of 1931–32, a blockbuster that decimated the young museum's existing attendance records. In support of the exhibition, Abby Aldrich Rockefeller, a founding trustee of the Museum, purchased the sketches to help defray the cost of the artist's stay in New York. She donated the works to MoMA in 1935.
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Goldfarb, Doron, Max Arends, Josef Froschauer, Martin Weingartner, and Dieter Merkl. "Collectivizing the Barr Model." Leonardo 47, no. 3 (June 2014): 270. http://dx.doi.org/10.1162/leon_a_00773.

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The authors use data from Wikipedia to build a graph visualization of the evolution of artistic styles inspired by Alfred H. Barr's poster for the 1936 Cubism & Abstract Art exhibition. Drawing from Wikipedia articles about persons and art styles, the authors construct a bi-partite network based on their mutual hyperlinks and assume relationships between styles if their respective articles are bridged by hyperlinks to and from person articles. The resulting visualization extends its model with respect to the number of covered styles, thus embedding it within a larger art-historical perspective as seen through the lens of Wikipedia.
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Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.

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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.
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Vere, Bernard. "Oversights in overseeing modernism: A symptomatic reading of Alfred H. Barr Jr's ‘Cubism and Abstract Art’ chart." Textual Practice 24, no. 2 (April 2010): 255–86. http://dx.doi.org/10.1080/09502361003595006.

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Wolff, Vera. "Die Postmoderne und das Ende des Japonismus." Zeitschrift für Ideengeschichte 13, no. 2 (2019): 31–44. http://dx.doi.org/10.17104/1863-8937-2019-2-31.

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Die Moderne kommt aus Japan. Jedenfalls, wenn man dem Gründungsdirektor des New Yorker Museum of Modern Art Alfred H. Barre folgt, der auf dem vielleicht berühmtesten Schaubild der Kunstgeschichte die Moderne mit dem Jahr 1890 beginnen ließ und daneben kommentarlos notierte: «Japanese Prints». Japanische Kunst gilt nicht erst seit Barrs Entwicklungsgeschichte der abstrakten Kunst, die er 1936 skizzierte, als eine der wichtigsten Quellen der westlichen Moderne. Schon lange vor Barr hatten Kunstkritiker, -historiker und Künstler in der japanischen Kunst eine Tradition für die Moderne gesucht oder in ihr den ästhetischen Ausgleich für die Defizite der Modernisierung gefunden. Und bis heute ist Japan für unzählige Autoren das «Heimatland der Abstraktion», in dem, wie der japanische Maler Saburô Hasegawa 1940 schrieb, «schon vor 400 Jahren» verwirklicht wurde, was der Westen erst ind er Kunst des 20. Jahrhunderts erproben sollte.
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Dissertations / Theses on the topic "Alfred H. Barr, Jr"

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Wellen, Michael Gordon. "Pan-American dreams : art, politics, and museum-making at the OAS, 1948-1976." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-12-6625.

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In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today.
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Haskell, Caitlin Welsh. "Henri Rousseau, 1908 and after : the corpus, criticism, and history of a painter without a problem." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5135.

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This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art.
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Books on the topic "Alfred H. Barr, Jr"

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Marquis, Alice Goldfarb. Alfred H. Barr, Jr.: Missionary for the modern. Chicago: Contemporary Books, 1989.

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1925-, Sandler Irving, and Newman Amy 1949-, eds. Defining modern art: Selected writings of Alfred H. Barr, Jr. New York: Abrams, 1986.

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Alfred H. Barr, Jr., and the intellectual origins of the Museum of Modern Art. Cambridge, Mass: MIT Press, 2002.

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Alfred H. Barr, Jr.: Missionary for the Modern. NTC/Contemporary Publishing Company, 1990.

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Partners in Design: Alfred H. Barr Jr. and Philip Johnson. The Monacelli Press, 2015.

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Alfred, Barr. La Peinture moderne, qu'est-ce que c'est ? / Alfred H. Barr, Jr. Réunion des musées nationaux, 1993.

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Kantor, Sybil. Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art. MIT Press, 2003.

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Kantor, Sybil Gordon. Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art. The MIT Press, 2001.

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Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art. The MIT Press, 2003.

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Book chapters on the topic "Alfred H. Barr, Jr"

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"Alfred H. Barr, Jr., Cubism and abstract art." In Modernism, 162–63. Routledge, 2013. http://dx.doi.org/10.4324/9781315833125-37.

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"Alfred H. Barr, Jr.: Held der Moderne im Zeitalter der Extreme." In Intuition und Institution, 149–78. Akademie Verlag, 2012. http://dx.doi.org/10.1524/9783050094892.149.

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King, James. "Post-War Blues (1945–1947)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0011.

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This chapter details events in Roland Penrose's life from 1945 to 1947. Lee and Roland flew to New York City on 19 May 1946. Roland was elated to have the opportunity to rekindle his relationship with the Museum of Modern Art's (MOMA) director Alfred H. Barr, Jr., who likely warned him about the dangers he would face if he backed any kind of proposal to open a museum of modern art in London. Roland was taken with MOMA's collection: ‘Realizing that it was on a far greater scale that anything that could be dreamt of in London, consistently indifferent to all matters concerning the visual arts and still enfeebled by the war, this achievement nevertheless roused in me a longing to attempt some similar kind of folly at home’. Barr would also have expressed his gratitude to Roland for allowing his Picassos to be sent to MOMA during the war.
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"8. The Multiple Masculinities of Canonical Modernism: James Johnson Sweeney and Alfred H. Barr Jr. in the 1930s." In Partisan Canons, 179–202. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822390374-009.

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Cernuda, Ramón. "The Cuban Avant-Garde and the International Art Community." In Picturing Cuba, 82–97. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0006.

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Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.
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Journal articles
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