Nationalism and Internationalism in Modern Art National identity ition in the art capital of the Jea moment in the troubled hi Poland, abattle that took place inx4r0, and to representitin such aw: Baaera7 —— er seems literally immersed in hist2a arta 1878. alenesno Tia Bile Gren aman teen gts ec a ferce buts. ‘iment carta pining blood, and raw aggression in ways that are simply unexplainable in words. Few pages of prose in any language (maybe only Caesar's Gale ars) have its beeadth and majesty. Even today, as Poland attains nother independence, schoolchildren sit in front of it for hours, theie teachers identifying the figures and explaining the historical significance ofthe moment evoked by Matej How can one cll The Battle of Grunetsald modern? Its historicism is marked, and its style makes one chink of artists ftom Altdrfer to Delacroix: Yetits sheer vastness and the urgency with which tsnation- slism i expressed is moder. It was not commanded by a king o gea~ cra; nor was it state commission, designed to be an emblem ofthe slory of the nation for official use. Instead, it was made privately for public exhibition nthe hope thatits lessons of the strugee of the Poles and their neighbours against foreign oppression would provide an ex ample for young rebels and nationalists. Matejko bet on the survival and continued strength of Poland as a nation, thatits national museum, would become home to the glory of Polish painting, and that The Battle of Granewal would occupy a place of pride in it. Few painters, from other nations bad such vast dreams for painting, and none of ‘hem attempted anything so magnificent and defiant. Yet, when thinking about this canvas-spectale conceived on sucha grand scale, one struggles to find anything quite comparable, and it might be best at this juncture to contrast it with another battle paint ing, this one painted in rps by a Russian painter living and workingin Manich, Kandinsky’s White Cro is everywhere and in every way the ‘opposite of Matej’ self conscious manifesto/masterpiece (128). Although large by the atandarde of the modernist easel picture Kandinsky’ canvas is minuscule when compared to that by Mateo. With its slashing blak lines, hints of spears, mountains, castles, and batde cashes, it evokes rather than describes war. Yet is bilan seat tering of colour and its ttle make one think more readily of musical 5 Wass ananty— Fees, Joan-lire cose teers fending bane Ioougntehascenes fnosrat eneConcsring alte Rectan become Bein wheat poeta va di recitals than historic battles. We all recognize rushing soldiers, boats with rowers, and landscape elements, yet none of these helps us to place this battle either geographically or temporally. When we search for cluesin the if of the painter, we learn that this painted representa tion of a battle (the single subject type most readily associated with national history) was made by a man from one country, living and working in another, speaking a language foreign to him, and, most evealingly, working for a completely international group of collectors and clientele. This, we have long been taught, is modern. ‘Why is the cosmopolitan tradition in modern art coequal with ‘modern itself? We have already learned that a good deal of modern att associates more readily withthe present than with the past, and that it isall but obsessed with the manner of representation, or what we might call technique. Yer it must be said that nationalism is among the most powerful force in modern society, that it has been at the root of most cataclysmic political events, and that, in spite of cosmopolitan, the history of modern art remains a sequence of largely national histories ‘written in national languages by historians who view arta the embodi- _ment of national values, The histories of every enstern European coun sry’s art, as well as that of Russa, are not easily accessible to the West, and even the histores of other nations’ modern art are written largely for a national audience. The minority of painters who worked in the modern world are treated as part of their national heritage, both inFis pcven ata panonf so ted stot ced anaes econqueed by each Poh university courses and, even more pervasively in the collections of national and regional museums, and this follows fom the earliest arrangements of works of art into national and regional schools arranged by geographical area 11301. The histories of Florentine, Venetian, and Roman painting ae treated in most Euro-American at smuscums as part ofthe history of painting in Tal, in spite ofthe far that aly didatteastas apolitical uni until he nineteenth century the same can be said for German art, Time and place Every modern art muscum teaches us that place is as important to art as time, and the primary mode of organization in art museums of both painting and sculprure is by nation and region, through which time is allowed to flow. Hence, in every major European museum of European art, we ee works produced in the same geopolitical place at different ‘times ina single area ofthe museum, but almost never works produced a the same time in different places. And, as if this restrictive geo- graphical organization in art museums were not sufficient, i extended also to most of the great temporary exhibitions of art held in inter- national exhibitions and other sorts of airs. For modern institutions in the nineteenth and twentieth centuries, art was presented as product of nations, not ofthe Zeigest or of individual people. Many modera artists accepted this condition as true, and, for some, such as Mucha in the Slav Epic and Hodler in the Zarich Landecrauseum, their greatest efforts as artists were directed toward vast nationalist works with many vast canvases covering acres of wall? Te goes without saying that none of these works is included in @ mascum of modern art anywhere in the world. Indeed, these institutions have conceived of themselves as modem in a way that is fundamentally dissociated from nationalism (hence the almost universal distrust of museums of modem art by nationalists in the United States, the Soviet Union, England, Scotland, et.). The theorists of modern art would contend that place is more important than time in traditional culture (when communications were more difficult and travel unusual). The modem condition, for them, pro~ duced a culture in which time replaced phce as the signifying variable in classifying works of art. To put it simply, the fact that a work of modern art was made in 1890 or r9a5 is more important than that it ‘was made in Munich or Oslo. Baudelaire’ dictum literally became the rallying cry for modernism—that the modern artist be of his own time. ‘A good deal ofthe cosmopolitanism of modern art has to do with the urban art system created in the nineteenth century, a multi-centred system of urban communication nodes surrounding a central city, Paris, and a small number of subsidiary capitals, Vienna, Berlin, London, St Petersburg, and New York. For that reason, an artist who worked in a place like Melbourne or Bucharest was focused on one major centre, about which artists, eritcs, dealers, and patrons knew a great deal more than they did about other peripheral places, Its m= portant to remember that travelling exhibitions of provincial modern art were organized to be shown in large geographic areas. One need only think ofthe exhibitions organized in Melbourne, San Francisco, Pietsburgh, Chicago, Buenos Aires, and Copenhagen during che late nineteenth and early twentieth centuries recognize just how cosmo~ politan the system actually was. Life in the capital ety was very much organized around colonies of foreigners, artists and otherwise. It would not be difficult to read the art ertcism of any grat nation a a patil atempr to define the char- acter ofthe national school of act, particulary since some of the most intensely reviewed exhibitions ofthe nine‘eenth century contained the work of foreign artists or, inthe cases ofthe huge exhibitions held in conjunction with the Worlds Fairs, atterapted global coverage in na~ tional terms. Even the venerated Paris Salon came increasingly to be an international affas as artists from most fart of Europe and America, artempred to place their works atthe epicentre of world ar. ‘The ability to succeed in a multi-lingual artistic society was seem ingly essential for success as a modem artist, and those who were able to cross boundaries were often more sucessfil in expicating their art than were artists who remained at home. The lists of men and women who ‘paseed’ for ‘French’ or ‘British’ when they were Americans or Romanians are legion. Although most of them eventually returned hhome, it was their ability to bring back idea and stimuli from abroad that in many ways validated them and gave them important aesthetic currency. In this way, we have learned from recent studies of Jewishcontributions to vanguard culture that the Diaspora encouraged Jewish artists, collector, critics, and intellectuals to cross national and, linguistic borders, making them, a a group, considerably more mod- cermin the sense of international and cosmopolitan culture than others, Ieis surely no accident, given this cosmopolitanism, that one of the most powerful strands in modem arc was anti-nationalist. For every ‘work made to be Polish or Russian, there were others made not to be classifiable in national terms. We have already noted that Kandinsky. ‘wrote the first full-scale manifesto of international abstraction, Con cerning the Spiritual in Art, in ws. Iti not so far from there to the ‘Cazch Kupkea, developing transnational colour abstraction in Paris or to the Dutchman Mondrian, reining Neo-Plastcism inthe same city. ‘Thereis plenty of evidence to assert that the inventors of Suprematism actually believed that they were charting a new aesthetic course for all ‘humanity as part of the particular revolutionary struggles of the Russian people. What would American modernism have been without the presence of Duchamp and Francis Peabia (1879-1983) (among oth~ ess) in New York using and justater the Firse World War or without the ertical presences of the Steins or Patrick Henry Bruce in Paris in the first chree decades of the twentieth century? And the travels of Seguntini are crucial for the development of transnational modernism, throughout Europe. Abstract art spiritualism, and internationalism In the context of nationalism, abstraction plays a very small role Indeed, the aims and achievements of most abstract painters were, a the very least, transnational and, at most, cosmic and universal (131). Again, one can return to our two battle paintings by Matejko and Kandinsky. In the ealier, and clearly nationalist endeavour, itis neces sary to know Polish history, to know the names of the factions in the battle, and to decode a good deal of information from the armour, cos- ‘umes, and heraldic devices in the painting. None of these areas of knowledge applies to Kandinsky’s cosmic was, which seems more to come from memories of childhood tales in which heroic knights stormed turreted castles in countries with no real existence. The same kind of comparison can be made between the modernist repres- entations of Amsterdam made in both photography and paint by the Dutchman George Breitner (i857-1923), and the facades of hit countryman Mondrian that present architecture freed from place. Tthas long been known thata good deal ofthe theory of abstraction in northern Europe and the Americas developed from forms of rans- national mysticism, many of which were textually based.* Rendering. visible sounds, spirits, cosmic forces, and other invisible forms was a principal task of a particularly vital form of cosmopolitan modernism in the first two decades of the ewentieth century. Although these ‘Gaomare ete, 182 peernaateur petted as Ecntaedtatlreste Fecoreue watson advances in pictorial practice were heralded as completely revolution ary in the years following their appearance, recent scholarship and museological practice have taught us that abstraction grew out of, many ideas powerfully associated with Symbolism and other forms of occult image/modernism. The representation of unseeable forms has been a challenge to artists since the beginning of human history, and representational solutions have tended towards abstraction long before the development of the various strands of abstract art. The representation of a chimera, of innocence or of any idea, deity, or force involved levels of abstraction. Curiously, most of these non- representable ideas transcend nations and national languages and are more closely involved with borderless insiutons such as religions Tris nota great leap to arcert that well-ravalled, multi-lingual cow ‘mopolitan capitalists tended toward such forms of mysticism more than did their opposite, Its for that reascn that many of the greatest figures in nineteenth- and early twentieth-centary mysticism were voyagers for whom the mundane necessities of daily life were provided ABSTRACT ARF, SPURETUALISM, AND INERNATIONALSM. 303,Tine 119 ot andere ecophsieston arte Prenbieuraon Amerin tere wer te ich Cont sient ‘recipi na naterali dlce whe tombodes ee. by others (or, a leat, by the fruits of working cap githered in Sweden, rural England, northem New Mexico, or the forests of Transylvania, the men and women who created various Euro-global spiritual evolutions between 1880 and 930 did so without feeling great material need. They also dd so with a good many books, dliagsams, and representations to explain and embody their visions, ‘The association of artists with these colonies of seekers has long been kenowa, and the ani-national aspiration of most ofthese groups isan important component of their thinking 132) ‘With the proliferation of publi libraries and easily accessible shops for illustrated books, an entire range of occult and scientife literature became available to artists. Whether a Manual of Zen Buddhism, The Book of Osslt Pbiloophy, or The Principles of Light and Colour, illu trated books had an entire range of visal information documenting Alagramming, or describing the unseeable and we know from the ast generation of scholars just how assiduous artists were in their use of these sources, Kandinsky’ familiarity with popular usrations tothe Book of Revelations has been documented by Carol Washton Longs Linds Henderson has proved that Duchamp used scientific and 1s Ga Ova ‘Buwand een Buns TT, reas erascT Sowntoher tana tei hey were rraphcabsraen Sires ar Bema denon (law played domino ety ara esuaty ‘steel tamer staconthget he 1Siteara 19208 te pseudo-scientifc illustrations with all the subtlety of a connoisseur; and John Boult has identified connections between the Esoteric Movement in Russia and both Symbolistand abstract atin that vast nation."Indeed, scholarshave combed libraries and archives toidentify precise sources in the image world for forms that were previously thought to have had no such attachment to iconography. The search ‘was fora utopia beyond nationalism where artists would be viewed as both inevitable and necessary parts of scciety rather than as image- workers for the dominant bourgeoisie. While i is tempting to consider the various forms of abstraction developed in Europe and America between 1900 and 1920 as com- pletely cosmopolitan or international in charactes, that conclusion ‘would be wrong in at least one case—that of Georgia O'Keeffe O'Keeffe developed a mode of abstract sainting that combined the mysticism of the American Arthur Wesley Dow (1657-1922) and Kandinsky and that seems to have been formed as partof a search, mis~ guided as it seems now, fora legitimately American art*Theough her association with the American-born and German-educated Stieglit, she had access to the Cubism of Braque and Picasso as well as to the English text of Kandinsky's Concerning the Spiritual in Art. Although she rejected Cubism as European, she fle liberated by the ideas of Kandinsky and attempted to create a kind of abstraction rooted in het ‘own experiences. As she had never been outside the United States, and because of her stubborn independence, O'Keeffe seems to have believed that her abstractions ofthe late gros and early 19208 sprang from herself and from American sol, although its much esier to find ABSTRACT ARF, SPUREFUALIGM, ANDINTEANATIONALIBNE 205Ceara ‘tiara iescoe pats Src eam ‘his ayn Iningona Fronee. ante precedents for her work in the theories of European modernists. In fact, comparison between a small work on paper by the Belgian artist Henri van de Velde (1863-1957) entitled Abstraction, made in 1893, nd O'Keeffe’ Blue and Green Music (919), shows that the similarities of form and, most likely, intention, are greater than the differences (133), Van de Velde abstracts from vegetal forms, the origins of which are petty clear to the viewer, while O'Keeffe tite tells us that she is make ing a representation of music, In each case, the artists anxious that we read the sources ofthe abstraction and, thus, guides us on an aesthetic journey. Granted, both works were produced by individuals in dif ferent countries for different audiences. Yet O'Keeffe’s is no more ‘American than van de Velde'sis Belgian. Nationalist landscape painting ‘Many of the most compelling efforts to cteate viable American, Russian, of many other national artistic identities had to do with mod ‘enist view painting, The entrapment ofthe national scene using the advances in colour perception and painting techniques developed on the international stage is one of the unifying elements in national art history. Each one of the great national collections proves that inter~ national art was produced by national artists using native scenery as their raw material. In this way, Tom ‘Thomson (1877-1917) or Lawren Harts (1885-1970) created a bold international image of Canada that linked the pictorial achievements of avant-garde E 3 arnt FrontaeNat She tears men mt shores taunt most isolated national scenery of their country (134, 1351? Not only were these paintings emblems of pride in Canada, they were routinely exported to the nations chat mattered most for Canada: Britain, Trance, and the United State, for exhibitons of Canadian art. Yet it was precisely their modernity (and, by implication, foreignnes) that Jed many Canadian writers and critics to decry them ‘We feel the very same forces throughcut Europe and the United States. A selection of modernist landscape paintings that represent national scenery using international techniques would be very large and would contain many ofthe best-loved images in ther respective countries. Whether O'Keeffe, or the American painter John Marin (870-1933) evoking the mythic, pre-United States landscapes of New Mexico, or Tivardar Csontvary Kosta creating vast ‘Hungarian panoramas centred on impresive Greek and Roman ruins like thoce at Taormina (Sicily) in 3904-5 (1361, modernist painters served the nationalist shetric of much ofthe capitalist work through powerful images that could be reproduced and sent throughout the nation and abroad for exhibition. This aspect of modernism is rarely stressed in the most theoretically sophisticated teats and exhibitions devoted to the movement. It was pervasive throughout the petiod covered by this volume. Recent scholars of American, French, indeed any national painting, have carefilly analyed the construction of na tional imagery by modernist painters a process of construction which ‘was almost never related to government commissions or othe less ob- vious forms of intervention, but was, rather, part ofa general cultural climate that prefered artists to identify with their own place of birth,136 Tar Crary hunse!avrina ny ste tring Narie ‘The fact chat many of the greatest modern emblems of America were created by immigrants or foreigners (Bierstadt, Bodmes, Steichen, Kertesz) has never troubled students of American at, perhaps because the immigrant experience isso central to the American experience. ‘There is no doubt chat one could selec’ avery large exhibition of ‘moder landscape paintings from the international world. These land- scapes, when shown together, would demonstrate just how global the modes of representation actually were. The national landscapes pro- duced by the Swiss painter Alexandre Calan (810-64) in Switzerland cor Bietstad in California are in no way different as representations Even the vast, land-rich Russa was awash in images ofthe national forests lakes, and villages that stretch almost forev Asia, and certain images, ike the Rusian Nicol Dubovekoy’s (859-1918) Calm before the Storm (i890), were produced in many ver~ sions to satisfy the national demand for images of Russia. Even the anti-national regionalism of Brittany in France produced a sort of avant-garde or modernist imagery intended to erode the conservative nationalism that was at the core of much political culture in the modem world, Iv s searcely an accident tat Irelands fst important modernist painter, Roderic O'Conor (1860-1940, lived viwally his entire lifein Pars, but thathe was attracted to the non-French imagery of Brittany asa kind of analogue to his own noa-Englsh Ireland. Again, modernism was both politically elastic and capable of giving powerful expression todas that are non-cosmopoltan. ‘We must remember, however, thatal these images, from Matejko's Batle of Grunewald with which we began this ea, to the Finnish Aaseli Gallen-Kallel’ (1865-1931) Lemmintainen Meeber [1371 with which we end it, were made for pubic exhitiion both within and out. side the national boundaries. They were thus national images created to permeate the boundaries of the nation and to being world-class techniques and visual ideas to the service of local stories. Gallen Kallela had conceived his great nationalist project while a student in Paris and had extended and refined his mision on another extended vist to Bertin (where he was impressed by the painting of the Norwegian Fatvard Munch, also an exemplir of his own countryin the international arena). From this meling-pct of sources and ideas, he created a visual vocabulary that allowed him to construc representa~ tional re-enactments ofhis national myths witha power thatcan be fel from Europe to to this day,Notes Intoduetion 1 Thefe Engshedon ar ended Mase eBags Condon ac Sym of thts (London sad NewYork, 90 lo Meer Grace asthe Jvihinduti ere Cechosoa {Ghenparofte Aare Horgan Ei) andthe fist my oumoplan haar ‘foment 1 oremodan pine ft compete Engl enslsion (7 Wis Sie) Signachd Enel Ne Inpro ex Poy Rais Pe Spe ‘Clr erp (New Ys, ‘opp Beenseasoigisin Face, Sicbinpornttent beeen thefrmaton ef mer eet efre ‘hemorcomlerand ne bonkof Meier rt 4, Thee mimeousioftbeCel Foe Whee ema: pinay soncernditn Pantin ark Bewer dewihthe ply tnth the rumeou teri Eg iat Ferman ciguefin tre Sec Bane Te yea Pla 5-0-4 Borie Vitro Eipre Lande 70) Arthitrasshme nega best Fleece ey bce nected ‘ue concentingon heaped arsand feulpe Howeves tet petern ‘sinequem editors nam, Pha, Viens Chis nd numero which amped ge oe 1 Secloba Gage, Ctr and Calne Pie nd Dersingon ntti dri Gleadonsaeas fi 7.3 5, Sect Tne Galery Th Pre Rabie Londo i98al orn. 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Redrsou ao cool he ‘rene iopphyin abet Hehe’: np Ltr and Parisi Say (Newivenanl Lando, 8) 2 Ser)sin Cale Toyo Rrliy Dadine(New Yr). 5, Sec Wale Beanie —TheCapiad he Nate Cary New Reis ‘Silent Apa) 7-8, 1 SeeMasime Camp Pair one ein Pati 79), 0 £ SeeMaly Net wey weiten yet cca Age See dae (New Hae Lando) Foren ongstonat “Hausman ce Hens Clowote ‘ey UHnmanisnten dP, Gxt Bans) 8-46 Noone ‘eweronte igi entity han Ca Schoolnet Pana Polit end inner app Myo selec ben ar death Ea “Anca cago tems isF Roy Willi Hors Cheer {ibe expe FT Pom ii oman (Ne Ye) 2. Tispiischarymnein Pere Boss get book Dinin A Sil ge een Tori, Mag) Hower Bou enot parca eveigia ister ork of a ange i heya Teshnghutpureoacher den Calan. Jon Reval coiuron wo madenie ‘es though mth dete dap is ‘gethitral portance Thevaiut ‘sthionsfhishitorroflmpreionmand Poaclnpreioien inal pblshedby ‘he Muu of Mader Ar ved Imei 4 'Recpine An History ofmodemarcs Formach sxe history fem athat coccinea summaricitinaote The ‘cena wes] Chae preci edmanced edingofeomenpony tas ‘Soret esi ht iene the wor ‘fnuneina fle incaing Mara ‘Win os Cheon ada. so. All eae Tresor nd The Fm Age in Te Soc try of Laden, up Moray. Tome Hauer ey Tinesorinis ema. se See Kerharo “ietnpy Peer Te Met Parone Mastin Dr Reena Raa on “Yor, 20-4 Chapter 2. Modernity, Representation, nate Acessibe Image At Mal contin oftimage ‘rrliaiteemembered ay bat, (eer ecnsieratin Mase ‘cal the fee decor bo adeno he yee get mens omrepoditoneandwboxtemgtele> ‘nde and herr conten See ‘Ane Mats, his ofS New Yering) Ganley betnaon of edi tnainr dele Sot Mendie (Pais, Wondering Maa cal hehisoryofar Pheer of What cane Patogapl Bien New Yorks 1 SorAnde Min, fceting Lavoe rt, ation Mh rigs fe ‘Mao rena Eiger ty Pris (Camtdgeend Newry op) Teer Accel enolate tte Gert Bann The Mum Ne Yorn lchonl ec are devotee the modem meu andi ‘heeias opp and Nahai at athe Ppl Sia sry Te Ansa oon Boe 5 Tistndenyi diced into ‘celine bos, Chine Gres (Cabin Beni Mosman Renton Freche gl(New Hensel Landon) ep omy Gl Monon Na re nd Pain Pc brent Now rand Landon, 2998 4 Foraraget stayed totwo leer poston Fane ice Mai rt ond oho Empire Ta Urea Espo and 1 (Nev Haren 9). Pek themone ‘nape lacheemersnbshing th pudtomademahibonris Madr rin ‘a gos Ton Ham alga ‘Maj Eston, Rept n Pea Foy Se Pl New Yrkand Londo, IpiivelerdandepaizedbyThedore eat Wik spc or Londo, ‘Vienna March, ertinand Peetu, stan extension wali the ments ‘oth gua ofuehiaril uch ould ler det § See Fanand Lge TheStreet, Ob, ‘Spec Fane oni Landon nd Now rk) 40 taney ERE (6 SeeDarmenic Patol) Liberty: to Yr ary adie New Yr, "96; Wiel We Aoi pop Landon 80 Micha Tegan, [ihe soe Ox). 4, Pothebermernsyof ie ‘hereon seer Maio Drs [oe dababbitenen tet ofrome= “ogy indice Roe Worth, Tx, 5p Thetis changing bt only inthe ‘seul heeltiohipberwee photog tndpining Widkmaprraerdemted 9 Grin Ma Pras, Boanrand alld weno goed delmre boot he ‘completo wich are pu patra (oem fphorgzpb).Ansmalogoss seo photgapbiepodsons 4 SeePillpDeseis Cae, Tb Colr eatin Gb ita Pan pet Bate Du Ca fo, Seelam ground eng ‘bk Fal Commando Capi Ait Poppi Toba gh Gana Ne ork thereSates Micha. Cac Te Orig fPhagownaim inde Wing, ay Par; Me Arts Response ‘Chapter 3. Representation, ison, and" Reality the rt Seeing 1 SeeDara Shab, Pe dt mi ore (Gent Whi) 6 Telecare _Srentothe Vicor Wome Canaan Cad dunderthte Fed bmg instr thant ar Toons 2. SeJoahaa Fak, Thednnen “ye Chere he Mader ri (Peneron 997) 5 Toms oregon ‘rcumenlyin Fred Hever oenoinof ‘by Lecampopno on papi Pain), oot 4 SeeMich ed, Aon ond “tril Ponting on ern te ge git Bete Ca) Tis how dob marsala ca ‘fF any ily an nd scored conser ny over stun modern many ofr ve ‘eenalhccheed wi thee’ sd the pe fret dnd 5 Threatens uc nomarizdin Engh inched cells Parr Loweseoer A scrim and Thre ining dle Nore 5 6 SeeChrles Ci gentry (his lover reptey bane cri ni nly keen fem manna agen) TaMecanige Cea’ Over Camplie (aso. whchtomy olga neverbern nse Jer Laer ‘rel-tanite, Impress ‘Ne Sore and Damen Te itary (Gare Inpinimand improv, ‘apo Enfencod ll N90), 7 ihikgon f, SecLindsDalyple Hendon, 7 ‘arth Dimon ed each Gy ‘Madr einen) Ale mac thee Neo-mresine vlan tothe cometon bene Cain lich ners Pencadend ope ‘ners poe 9, Manyhaveledsbourdingth oboe Sig dare arr met woke ‘tchoter tier oreo 10, SePeeHenry Emerson Nowaie Pha Stal drtand To Dalf Nata Ptr New Yak 3 0 feomthe ode) Noone sunt ‘auakem arrange 1 SeeRobatL Heber Methoand Meaning inane, dei iris (September) go andj House, ‘Cd Mont Nein New Haven tnd London, 98). { Forthemontscnledicion ofthis ‘os picts Clite Pc Tay 5d Antoine Tere, Te ti Board ar on Tire (Ne York 9), tes Wharcleardoyonsethe te? (Gani etd ase Serr Tei gen? ‘Thenwe ren thenextgrenon yur pale Andsh sncdoe? a beycig? Destheafndpainrtsbesro0 pomblyo 5 Tremor acoibe summary with (power All sccen Engen ‘efi yn Cannes Cairn (an ton Mich, 98. Te owing wl Se Torch lence esur ace nine ect nl thewbitrecimpreioaon 3 1a. Riad Suis Conon te Eade “npresioion{ Chica 98) eves fa ‘lnc ht Shed poled exer forthe Meola Maze Ina wock, Shifecopszste oto stale ‘epson sti ineeionsm Hewamongeotenpory aint ‘median reget ce copiton Chapter 4 ImagrMederism an the Graphic Tae 1 Information booing ‘ceauedehough heat Gru (pephichoommaraeda Rha Treelera, ThedfPet Gani New Yoon 2. Tamed ofan curently Sahinlesmong menses “Tooele Gm one sce npg rh eal oe many irene 5 See Cail Psra Lert S00 asin New Yorke sed andre Real ihe fom Laciea Pare 4 Themoneringdusion ofthis Thenmenen Wiliam i Pred Vinal Conmaiatins( Carts, se, ‘Sea Bee Farwell Pr pi Lap loney o (Chicas, ge 5 Focanexonplary Scusionof Cernnet Plndeng uthe Loon Theoden Re {elon Howe Shou, Pn Cane ‘Tuo Stctt Phe 9) 6 Manche Esko ity 7. SeeGaton Dil Hors Matin Pa ‘oslo at eonoogy Inteduetion 1 Thescolnip thatch cy sbeacinsa andy aro pti Intynresingin chirp See Rove Carl Washion Lang Kenny, Teepe Forde Sle(Oxkrd and Now Yr, to. 2: Ths weehisamnarad edn pe ‘eid Christe Pgs ear of Painting Cio Fri and Te etion = Calg New vena Lon 9) For Schwitese Dts Desde ook, Pe Clef Str Trion snd fesetion Cai and New ork, 193) Analeracve and rl contxea ‘ewofthev me wort robe fnndin Aoneeth Ni Rethinking Kar Sieh PatOne Anlaterpeaiono Hani” and “Retiking Kure Sthote, Pa To An Tnteetton o Griese Nagsine sory ne na. ‘Chapter 5. Senay and the Body 1. Tisbibiogaphy woudeeea tanga ‘beprocntiook Hocusame evel ‘celewourcesfrthebegoner Linde [Nes The Filer, Obey ond ‘Szay London yg) Katlen rand Maris Pitn (es Te Bay mag The "aman Fon Vial Cad St Ress Camige and New Yer, 9; ‘TePa Bayi WesernCale Co temporary Preis Cai Mae, 198). Theriault ‘here erie Bram ilar 8 (perenne Ein ‘Fae Se Cate (Oxf 98) 2 Feil pings nthe iy ‘etary hate nachin ‘gn tat dete Manet Doerr ‘read resco Opa Most ‘tee hivebem somaiedin Frans (Cent on od wel coed xg ote st ParsNew ark Manet loge, Mat jy New Yorah)t-9. Thermo inert and tated cet dann of pings ‘inbefouod eT). Chs 7a ring ‘Man Life Partin hed Manctend bc liar New Ts 8). 4, Thaphnaccante min Champs nln eewof he Ching Basle 44 Themoeieligen snd ceniieok ‘SoMa Opn Todre Refs ‘Man Opi rn Crt New Yok, 78. 5 The motu acu etmentof Mase elginn pining ale unin Michel Dasa Rernring Bi Rein, Arsand Sty in cath ey Pre (Gnesi Pano) 1 ScePee tira, aly Hi Obey Desrin hr Norse Cambi, Mas, 99 AiplSolonoo: Gens, “Going ane’ Ain Ameri ih alls Clase, Pit Love Prion in Preheat Ea New Hiening ec Lipo, lin Oop amar Sof Meni Mand Hermon De New Ys 3952) Joes H Rin on Stomeandh sgh exgc Cange Marge 9, Se Aloaie Dams lar mpl Gis 9p, ale 8. Seo Theories Te Pome Eatin Colson Piaphi, 297,890 4 Soe Reicole Hele uc ind Nor Cc 0 to. LindaRecln seen he mst ‘iat enoftathingandismer icongraphes buhay pbk her work ‘saryenmpae nay or Ealing te et ebesonetdad ThE and Te inning Pre (Fon Wert, Te 996, sumatarae the eateeand ins ‘ino maleibin atop a 2 SeeMay Laine Kring Pl lar The Baten NewYork). 12, Themen ofGaxguin bon ase andor Aig Soho Gons nd Gres Pellkin Aoot-Grs Gambit tay Gendered he arf iy New Yorn Lseden ‘Chapter 6. Scil Cass and class ‘Conrciousners Thera aing ofthe Grande ateby (Chskarnmaied and dicen Raber L Hestertthogtlenyon pining Sn Gre Sara -spNew Yor 19) pegs pay. 2 Thnven putter Join How ‘Reading th Grande Mu Sac gf 9) ng eaprety Rober she athe cay dab, Hehe witht th puting dot scaly etn al pena that ‘nchaviwinoeedHowee bere ‘Senco agent tesco paintingsbgun the ede iandthen ened leat independent 5 These etonons beeen ost ‘engl by Rha Thomson bathinhie ingpiiclerer antic ‘mona Serf One o9) {Peto became Bis ase eae ining Renirhngapharyettbe trite Hinson Rens ‘ea My Fer Lao, bathe ‘watbretoletabe af mache dey ‘linanive pref ears Buns Esch Wh ew Hier and Late New Yo) stele oe ‘er Cala Bain bis highly detlednew tay Reni gran ofon de (New Harn per iii dosuiona ln sus, For Baste Lepge Sheraton very oo ary Pp thelr bopageria Baga re ‘Ani Theat le Bain Legends “onder an Ja Cath ls ‘vin epg Lendon 69). 5 Toeeatfthveae Beth Archer Brome, Bld Mee Rllina Pk (ure 99); Dad Sean, as! Gmina Compe fe Londen 9h sulin Blah ey, onde Lar Af Lenien yt) Toe ote vith ‘hecompenngbiopaphiz of Psa (Geog O Kerala derek baconttdto modem bigeghy. 6 Andoebethey were otasintecae iSugentrintons Madame ore [Ring nee dB heya 1 Theeramplay ook dsreais nat Ane MCuleyi A.B Distr) dts CrP Pare Phage (RewHaven 9. 1. Acborughaseyofmpesenation of ptr Richard and Caine Eieelh Pints ond Paani Cony Genera 89) Aan leaner rg confine ‘hema fPrencharand mone, tov iagevofManetand Dear The rarer staggering iii ‘Themoerscasle ue Richard Ken ond Gaels tection eee hy Bish chola(andLinds Nocimand Hols Clanon ented Drag at Daa Kapton Womenond Tory sn New Yer 992) Aline (CalArts Odd an One Reding (fie Wekond Reputation gr gs Chicago a4 noves (Chaper 7 Antteonography: At without ‘subject’ 1 Thsecinaeonscantefnndin sever ‘ents Rar Bel Set Shee and pie Ptin Di he Lannea gees “Tchr Mona ot ral Now Have, ‘sf bert Here Imprinin , eirandPeian ry New He, ‘ppvendCharesS Motes, nein Snel Wagon, DC, 6 2 Seon Real, anne Catal Reva New Yo 97nd Richard 8, ‘reel Cena Pisr Eke, Ganga ae Pati 4 Drs ity ping shoud, Fhe the estou oan noone ieClaverecher Thor and Antoine Tora, "Tanai Remar Wl nl Cie (ow Yn 0), 2, where thi renaton tide Guagavetne bef {t Fotighy ply mote ening ‘rPane linge eb, James. Hef, ce uti Theis Clara Poi New Hovenand London, vo ‘chapter 8. Nationalism and Internationals in Mader At 1 SeaerolPaieteenth-eiey tinge orwell oun ‘Bunda the iin Esher sal Therein abie dicson of Mat ‘sro pinging Merial Symi ob ening ogo (Dat nt) 0, Oneshonda Sd "TP Dobhowbs Poi Reino Enlight Raat Time a= Cacia ewer Enpshlangige lleion 78 Nasional Marni Hirt Pain Wa) 1 Oneofthe an poets tel sramoeraiidn Reed ‘Aedes neinel Cait Repitions mth Orgacend pel fNaiaton (Cando) Sesto Eras Genes, [Netomand ona Ic 98) 5. Toes persistant elt Sea aber anerce [Ameren abr Shao inch Her ‘nonsnlysdesadyaln mpah “tne drew Yn 9) Macha arc harbecallcredy bison ‘Mucha nbs arse docieneschape onthe lv Epiin toner Mb Haband New Yoh) 4 Thesingebestnd moseasenileino- ‘dco ieai Mare Tacha (ls Tpit in dr Ate ening, ‘eripatlaenge 4. Nth dicsons cane ound ‘emaredin Tocean eta dy, stand {6 Derteachnginuetasedin Arar Woley Don CompriinsdSeEeri saat Bomctrfrteneindtend ‘Ton New Fernie, 99) 17 See Chas il Te Gopal Sen ‘rors. 19. Tremont Engaging tudo Poni piingandthe cero ‘Aes Galler Kelas Dror Sema ‘igh Senn Pitt te Tarde ery Landon 980 op 3 Insttutioaliation of Modem At. ‘heels tonya nips ‘ialhraryofthe Masa of Moder As. ‘The aehoweersevenlinier ste ttetcnnin eth ifomation Tene te Alc Cals Maun fd Ba Minin br Man New Yok and Chg.) Ruse yen, Gnd Mater elnsinat Poriy ben (fBerseNew Yer 973 oe a Te Mae ef Mant, [Nalin beso Calton New ‘Yor 2984 Tele tcsesmareon te alors on intial ory. wore a5