By Jeremy Braddock
In this hugely unique examine, Jeremy Braddock makes a speciality of collective types of modernist expression―the paintings assortment, the anthology, and the archive―and their significance within the improvement of institutional and inventive tradition within the United States.
Using huge archival learn, Braddock's research synthetically examines the missed practices of significant American artwork creditors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He unearths the way in which collections have been devised as either types for modernism's destiny institutionalization and culturally effective items and aesthetic kinds in themselves. instead of anchoring his examine within the primary figures of the person poet, artist, and paintings, Braddock provides us a wholly new account of ways modernism used to be made, one based at the determine of the collector and the perform of collecting.
Collecting as Modernist Practice demonstrates that modernism's cultural id used to be secured now not quite a bit during the collection of a canon of vital works as through the advance of latest practices that formed the social that means of artwork. Braddock has us revisit the contested terrain of modernist tradition ahead of the dominance of associations similar to the Museum of contemporary paintings and the college curriculum in order that we would give some thought to modernisms that can were. supplying the main systematic overview up to now of the Barnes beginning, an highbrow family tree and research of The New Negro anthology, and stories of quite a lot of hitherto missed anthologies and files, Braddock convincingly indicates how inventive and literary collections helped outline the modernist circulate within the United States.
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Additional info for Collecting as Modernist Practice (Hopkins Studies in Modernism)
Indeed, the anthology could reasonably be claimed as the preeminent black literary form of the twenties, enacting as it did a performance of collectivity and interpellation, political demand and representation, and also, in some cases, canon formation. ’ ”82 And in this, such texts must be seen as a necessary extension of the field of modernist-interventionist anthologies. 83 The most influential of these collections was Alain Locke’s New Negro anthology of 1925. Riding and Graves notably fail to mention The New Negro— or any other black anthology—by name.
In both practice and theory, Riding and Graves prefigured the protocols of close reading that became the cornerstone of literary study in later decades (and in this light A Survey of Modernist Poetry contains readings that still merit revisiting). Their work also marks an early stage in what became the dominant definition of modernist autonomy. This definition, ironically set forth in a joint-authored text, exiled collective expression as a legitimate category of aesthetic production or representation.
Comprehending the reference, Harriet Monroe’s attack on The Lyric Year asserted that its judges had been insufficiently qualified and too distant from the center of the literary scene to evaluate submissions with authority. ”21 Written a year before the Armory Show, Monroe’s complaint was untroubled by the Carnegie’s unresponsiveness to postimpressionism, and it did not specifically indict Earle’s unresponsiveness to free verse. But it did implicitly claim the authority of Monroe’s collaborator Pound, a “distinguished” poet who was then compiling his own more limited, schooldefining anthology.