The Power of Display: A History of Exhibition Installations at the Museum of Modern Art 0262194023, 9780262194020

Citation preview

AHistory of

Exhibition

the Museum of Modern

Installations

Art

at

A. History of Exhibition Installations at

the Museum of

Modern Art

Mary Anne Staniszewski

The MIT Press

Cambridge , Massachusett Londo

E n, ngland

!i

F~rst

MIT Press paperback ed1t1on, 2001

0 1998 Massachusetts Institute of Technology All nghts reserved. No part of th1s book may be reproduced 1n any form by any electronic or mechan1cal means (mcluding photocopymg, record1ng. or mformauon storage and retneval) w1thout permiSSIOn m wnt1ng from the publisher Th1s book was set 1n Franklin GothiC by Graph1c CompOSition. Inc and was prmted and bound 1n the Umted States of Amenca. Library of Congress Catalog1ng-1n-Publicat10n Data Stamszewsk1, Mary Anne The power of d1splay · a h1story of exh1b1t1on mstallauons at the Museum of Modern Art 1 Mary Anne Stamszewski.

p

em .

Includes b1bhograph1cal references and 1ndex. ISBN 0-262·19402·3 (he alk. paper). 0-262·69272-4 (pb) 1 Museum exh1b1ts-New York (State)-New York- History. 2 Museum of Modern Art (New York. N.Y.) I. Museum of Modern Art (New York. N.Y.) II. T1t1e . N620.M9S83

1998

709' .04 '007 4 7471-dc21

98 7880 CIP

List of Illustrations -+ VIii Acknowledgments -+ xiv Introduction Installation Des1gn : The · unconscious" of Art Exh1b1t1ons -+ XIX

1

Fram1ng Installation Design: The International Avant-Gardes -+ 1

2 Aesthet1c1zed Installations for Modernism. Ethnographic Art. and ObJects of Everyday L1fe -+ 59 3 Installations for Good Des1gn and Good Taste -+ 141 4

Installations for Polit1cal Persuasion -+ 207

5 Installation Des1gn and Installation Art -+ 261 6 Conclusion· The Museum and the Power of Memory -+ 289

Notes -+ 310 Bibliography -+ 344 Reproduction Credits -+ 360 Index-+ 362

List of Illustrations

1.12 Rodchenko. Worker's Club. on ExposrtiOn lnternatronale des Arts Decoratrfs et /ndustrtels Modernes (19251 15

1.13 Lossotzky. Abstract Cabmet (1927. 1928) 17 1.14

·Gallery 44" of Hanover Landesmuseum. after Dorner's reorganozatoon

(ca late 1920s) 18

1.15

'Gallery 43" of Landesmuseum. before Dorner"s reorganozatoon (ca early

1920s) 18

1. 16 "Dome Gallery· of Landesmuseum. first exhobotoon after Dorner's reorganoza toon (1930) 19

1. 1 Varnedoe woth Neuner. paontong and sculpture gallenes. MoMA (1997) xx 1.17 "Dome Gallery." Reformatron Exhrbrtron. Landesmuseum (1917) 19 1.2 lnstallatoon photograph of MoMA's first exhobotoon. Cezanne. Gaugum, Seurat.

van Gogh (1929)

XXIV

1.1 8 Renaossance Gallery of Landesmuseum. after Dorner's reorganozatoon (after 1925) 20

1.3 Photographong exhobotoons wothout voewers xxv

1. 19 Moholy·Nagy. drawong. The Room of Our Trme (ca. 1930) 21 1.4 A pubhcoty photograph of an exhobotoon xxvo

1.20 Koesler. detaol of wall honges. Surrealrst Gallery (1942) 22 1.5 The museum as commercoal space xxvo

1. 21 Ftrst lnternattonal Dada Fatr(1920) 23 1.6 Choldren's exhobotoon xxv11

1. 22 Duchamp, Ftrst Papers of Surrealrsm (1942) 24 1.1 Homage to Marcon• (1932) 2 1.23 Gropous. cafe bar and gymnasoum. Exposrtron de Ia Socrete des Artrstes 1.2 Koesler. lnternatronal E~htbttrons of New Theater Techmque (1924) 5

Decorateurs ( 1930) 26

1. 3 Koesler, "L Type· dosplay 6

1.24 Bayer. Dragram of Freid of Vrsron (1930) 28

1.4 Koesler. "T Type· dosplay 6

1.25 Bayer. furnoture and archotecture gallery. Exposrtron de Ia Socrete des Artrstes Decorateurs (1930) 29

1.5 The Armor} Show(1913) 7 1. 26 Bayer and Gropous. utensols do splay. Exposrtron de Ia Socrete des Artrstes 1.6 Koesler, Erghteen Functrons of the One Chatr(1942) 9

Decorateurs (1930) 30

1. 7 Vosotors lookong at artworks on Koesler's Pamtmg "Lrbrary" and Study Area (1942) 10

1. 27 Gropous. gymnasoum and pool. Exposrtton de Ia Socrete des Artrstes Deco rateurs (1930) 31

1.8 Koesler, Surrealrst Ga//ery(1942) 11

1. 28 Rapon and Rapon, swommong pool. Exposrtton de Ia Socrete des Artrstes Decorateurs (19301 31

1.9 Koesler, Abstract Galleq (1942) 12 1.29 Bayer. Gropous. and Moholy·Nagy. Burldmg Workers· Unrons Exhrbrtron 1. 10 Kotsler. Kmetrc Gallerf (1942) 13

(1935) 32

1. 11 l table. Useful Ob;ects of Amencan Design under $10.(.0 MoMA (1939-1940) 163

2.64 O' Harnoncourt, entrance to Surrealism gallery. 1\fooern Artm Your Life (1949) 135

2.65 D Harnoncourt. GeometrJC Styl1zat•on sect1on. Modern Art m Your Life 1949 137

3.16 V•s•tors handling and lookmg at ObJects 10 Useful Objects of Amencan 0. s ~n lder $10.00, MoMA (1940) 164 3 .17 M•es and Johnson at 1\ftes "an der Rohe RetrospecttH!, MoMA 1947 1948) 166

2.66 o· Harnoncourt, entrance to Geometnc Styf•zat•on sect•on. Modern Art m Your Life! 1949) 137

3.18 No>es. room settings. Orgamc Destgn m Home Furntshmgs. MoMA (1941) 168

2.67 Rub1n, entrance to Daoa. Surrealtsm. and Thetr Herttage. MoMA (1968) 138

3. 19 Noyes. d1splay of cha~rs. Organtc Des1gn m Home Furmshmgs ( 1941) t G9

2.68 Rub1n w1th d'Harnoncourt. Salvador Dali gallery, Dada. Surrealism. and Theu HerttJge (19681 139

3.20 Orgamc Des1gn d•splay. Kaufmann's Departmen t Store. Pittsburgh (1941) 170

3 .1 Bayer .md Grop•us. entrance Bauhaus 1919-1938. MoMA

3.21 Kaufler's •mage of a hand. the •con of the Orgamc Des1gn shOw, m

(1938 1939) 142

Bloom•ngdale ·s ad ( 19411 172

3 .2 Boyer. plan, Bauhaus 1919-1938(1938-1939) 145

3 .22 Bayers omage of a hand at the 10troducuon to Bauhaus 1919 HIJH (1938 1939) 173

3 .3 Boyer. e•hobot lllustratmg -The Bauhaus Synthes•s.- Bauhaus 1919-1938

J 18

9391 1·16

3.4 Bayer. corrugated paper room d•v•der, Bauhaus 1919-1938

3. 23 lnteroor do splays •n Macy's. New York (1883) 175

(1938 1939) 147

3 .24 S S Solver and Co • •nter.or d•Splay 10 Woolf Brothers department 5torc, K. n as C1ty. Mo. (19491 175

3.5 B. •yer. labels and exh1b1ts tolled at angles from the wall, Bauhaus 1919-

3 .25 0• gram of 1930 Deutscher Werkbund exh•b•t•on at E•posttiOn ue In Soc•etc

11 8

cJt s

93R 19391 147

~rtt.

tes Decorateurs (1930) 177

3.6 Bayer, c rcu:3toon paths on floor, Bauhaus 1919-1938 (1938-1939) 148

3 .26 Ooagram ot a trad•toonal exh1b1t1on. show.ng ng1d symmetry 177

3 . 7 B,oytH. curved tabletop suspended by str.ng. Bauhaus 1919-1938

3 .27 Matter, Gooo Destgn wondow diSplay. Carson PorJe Scott.

1q38 1939) 1·18

3.8 Bhs such a~ th :;. mage of E eanor n Iron! or a re ..Jf Des1gn of ExhJbJIJons and Museums·

age to Guglielmo Marcom, one of the many d1splay and

Jnstall

r.on. Landesmuseurn. 1911

1.18

Rena•ssance Gallery after Dorner's reorgamzat•on of Landesmuseum. after 1925.

much as poss1ble,

each specific culture. 33 The Renaissance

ence: "If on previous occasions ... [the visitor] was lulled by the

gallenes were wh1te or gray to emphas1ze the cub1c character of

painting mto a certain passivity. now our des1gn should make the

the rooms and the penod's interest in geometric space and per-

man active. This should be the purpose of my room." 3 " L1ssitz

spective (fig. 1.18). In the Baroque galleries, the walls were cov

ky's strategy for achieving this was to design gray walls lined with

ered with red velvet and the paintings were in gold frames. The

metal slats (in Dresden they had been wood) that were white on

Rococo color schemes were pink, gold, and oyster-white. Dor-

one side and black on the other (see fig. 1.13). Th1s type of wall

ner's atmosphere rooms displayed a progressively evolving, his-

surface shimmered and changed color within a spectrum of wh1te

torically differentiated representation of art and culture. One of

to gray to black as the visitor moved through the room. Lissitzky

ftnal stages of th1s linear h1story of different epochs was provided

des1gned sliding frames containing four works, which could be

by Liss1tzky's Abstraktes Kabmett (Abstract Cabmet), wh1ch was

v1ewed two at a time. In one corner against two walls was a rect

constructed

angular sculpture pedestal that was painted black and red. Ad

1n

1n

1927 and 1928.

LISSitzky's stated purpose in creatmg the Abstract Cabmet was to do away with the viewer's traditional exh1b1t1on experi

JOintng th1s rectangular structure, and next to the wall beneath a wmdow, were table showcases containing four-s1ded drums that

1. 19

v1ewer. which, as 1n K1esler's work. impl1ed a nonstat1c, t1me

Laszlo Moholy Nagy, drawmg The Room of Our T•me. ca 1930

bound approach to the creatiOn of mean1ng. Also like K1esler's exh1b1t1on des1gns. LISSitzky s Abstract Cabmet became known among the 1nternat1onal avant-gardes as a h1stonc. crcat1ve contnbut1on. 16 Perhaps more Important to the h1story of the Museum of Modern Art. both Alfred Barr and Ph1lip Johnson (the Museum' s first curator of architecture) VISited LISSitzky's mstallat1on . Barr reflected 1n the 1950s that "the Gallery of Abstract Art 1n Han no ver was probably the most famous smgle room of twenttetll century art m the world." Johnson. who wrote that "the Abstr,!ct Cabmet at the Hanover Museum was one of the most viv1d memo

ries and most excitmg parts of the We1mar Republic." actu hous1ng the mstallat1on L1ss tzky's Abstract

development of mdustnal des1gn from the Werkbund to the Bau

Cabmet. 1n a sense. requtred the presence and recept1on of a

haus and of modern architecture from Lou1s Sullivan to Ludw1g

.......

..

,3 ,:-

.---. .. 0

::J

0

..,

N

N

M1es van der Rohe. A push button-operated projector was set up

mot1on a sequence of reproductions from Marcel Duchamp's

to show slides of the newest theater designs and techniques.

Box-in-a-Valise (see fig. 1.10). The Surrealist Gallery was a stage

such as Walter Gropius·s design for Erwin Piscator's Total The

set for a sensorially augmented aesthetic experience that af-

ater and Oskar Schlemmer's Triadic Ballet. On one wall was a

fected the viewer's sight. hearing, and touch. Each work had 1ts

double glass screen on which two films were to have been shown.

own spotlight. which went off every two or three seconds; the

one of a documentary nature and the other abstract. The film and

light1ng was engineered so that half of the pamtmgs were ht half

slide proJection equ1pment and activating buttons d1d not func·

of the time. Every two minutes a recordmg of the roar of a tra1n

t1on properly, so the room opened in an unfinished state. The

was sounded. Paintings, mounted on wall hmges, enabled the

Room of Our Ttme was diStinguished by the complete absence,

vis1tor to tilt them to his or her desired viewmg angle (f1g. 1.20;

with the exception of Moholy's Light Machine, of any ong1nal

see also fig. 1.8). In the Abstract Gallery most of the pa1ntmgs

works of art. Everything was a reproduction, a model, or

and sculpture were suspended in midair by thin triangular "col-

documentation.

umns" of cloth tape (see fig. 1.9), which allowed the painting to be tilted or the sculpture to be raised or lowered by the viewer.

Surrealist and Dada Experiments

The Room of Our Ttme was representative of the 1nternat1onal

avant-gardes· fasc1nat1on from the 1920s through the 1940s with v1ewer-act1vated gadgetry for installations, wh1ch was no doubt linked to advances m technology and the growth of the mass med1a. Although Kiesler had experimented w1th these 1deas m earlier temporary exhibitions, 41 The Room of Our Ttme can be seen as a precursor to K1esler's permanent installations created in 1942 at Art of This Century in New York, where all four gallenes were activated manually or by mechanical devices. There. in every gallery the viewer was offered an interactive and engaged experience with art. When a viewer entered the Kinetic Gallery a beam of light was broken, which triggered a revolving wheel that displayed a senes of seven works by Paul Klee. A viewer-activated push· button system enabled the spectator to examine a pa1ntmg on the wheel for a longer mterval. A visitor also could have looked through a peephole wh1le turnmg another large wheel that set m •

..... ~

Dilettanten uu~E.a

{If !I

••

tit (ustl

..

3 -· " ...".

--.--.· 0

...."-·

.." 0

Ktesler's mstallattons for Art of This Century should be un derstood tn relatton to the acttvities more generally of Dadatsts

1. 20

+-

Koester. detaol o f wall honges that enabled gallery vosotors to tolt paontongs to desored voewong angle, SurrealiSt Gallery. Art of Thos Century, 194 2

and Surrealists. who often treated the entire temporary exhtbt t10n as ferttle ground for thetr creattvity. Unconventional, chaottc mstallattons were a hallmark of many Dada exhibitions. like that

1 .21 Flfstlnternattonal Dada Falf, Burchard Gallery. Berton 1920 St,mdmg, left to fight Raoul Hausmann, Otto Burchard, Johannes Baader, W•eland

:>

.---. 0

Italy dunng the 1930s. One such example was the Sa/a delle

G1ancarlo Pal anti created the Salone d Onore (Salon of Honor). a

Medag11e d'Oro (Gold Medals Room) designed by Edoardo Per-

starkly class1cal homage to the Fasc1st state that looked hke a

SICO and Marcello N1zzoli for the 1934 Mostra dei/'Aeronautica

"p1ttura metafis1ca · stage set w1th Luc1o Fontana's classiCISt

(Italian AeronautiCS Exh1b1t1on) tn M1lan (fig. 1.49). '"A commemo

n1ke and horse sculpture mscnbed with the words of Mussolln1

ration of the wart1me achievements of Italian aviators who had

as the centerp1ece

rece1ved the prest1g1ous Gold Medal. the installation· s armature

Although the level of expenmentation and 1nternat1onal 1m

was a gndllke scaffoldmg that had become a versatile standard 1n

portance of mstallat1on design tn Europe dimtn1shed after World

exh1b1t1on structures. Extend1ng from floor to cet11ng were slender

War II, an mterest tn exh1b1t1on technique could st1ll be found,

wh1te latt1ces onto wh1ch artifacts, photographs, and text panels

pnmanly m des1gn and industrial exh1b1tions and mternat1onal ex

were mounted and seemed to float tn space, an appropriate for

pos1t1ons such as the 194 7 Exposition lnternatlonale de /'Urba

mulat1on for an exh1b1t celebrat1ng the accomplishments of the

msme et de /'Habitation (International Exposition of C1ty Plannmg

Italian a1r force. Persico and N1zzoll's formulation achieved the

and Housmg) 1n Pans and the 1951 M1lan Tnennale . 1c.

elegance and the sense of dematerialized support structure that

Wh1le exh1b1tion des1gn first became an Important feature

was tnchoate m K1esler's LandT system and that was explored

of aesthetic pract1ce w1thm the European avant·gardes of the

tn LISSitZky's F1lm und Foto installation see fig. 1.41) Grop1us

1920s. from 1ts mception tn 1929 the Museum of Modern Art

was reportedly · spellbound " when he visited the Gold Medals

presented dramat1c and creative installations and contmued to

Room, wh1ch looked very s1m1lar to the mstallat1on he created

do so long after th1s act1v1ty had waned m Europe. L1ke the expert·

w1th Schm1dt for the Nonferrous Metals exhibit at German

mentat1on of the mternatlonal avant-gardes. exh1b1t1on des1gns

People; German Work that same year (see fig. 1.38).

for purely aesthetiC tnstallations, for the display of modern de

Another Important arena for exhibition techn1que tn Italy

s1gn and architectural prototypes. and for political propaganda

dunng the 1930s were the Tnennales. 1" One of the most 1mpor

were an mtegral part of the recept1on and promot1on of modern

tant of these exh1b1t1ons. the 1936 Triennale tn Milan, Included

art and culture at the Museum of Modern Art unt1l 1970 But

a spectrum of des1gn solut1ons. The show was organ1zed ac-

unlike the geographically scattered and 1nSt1tut1onally diverse

cording to themes dealing w1th design, architecture. and tech

exh1b1tion des1gns of the mternat1onal avant gardes, the mstal

nology. and the mstallat1ons were dom1nated by the presence of

lat1on expenmentat1on at MoMA was concentrated w1th1n one tn

the RatiOnalist gnd and modular structures. Franco Alb1nt and

st1tut1on and was. very particularly, an Amencan (1 .e .. U.S.

G1ovannt Roman created a gndded mstallat1on for the Mostra

spec1fic)l 02 realizat1on of modern culture. Analyzmg the Museum

del/'Ant1ca Oref1ceria 1tal1ana (Exh1b1t1on of the Ant1que Italian

of Modern Art's exh1b1ttons from 1929 to the 1990s prov1des a

Goldsmith 's Shop) that was remm1scent of Pers1co and N1zzoli's

parad1gmat1c case study of the institUtiOnalization of modern and

Gold Medals Room . Max Bill'S Sez1one Svizzera ,Sw1ss Sect1on).

contemporary art m the Un1ted States.

:>

I j

apter 2

Aes

lnstallatl·ons for Modernism,

Ethnographic and Objects Everyday

Art,

Of

life

II

•....

Creating Installations for Aesthetic Autonomy: Alfred Barr's Exhibition

--•"'

...-. ...-. .---. .. n

a.

Technique

:>

0

:> 0

The Museum of Modern Art's founding d1rector. Alfred Barr, d1d not select t he paintings for the Museum's Inaugural exh1b1t1on,

~

Cezanne. Gaugum , Seurat. van Gogh- but he d1d mstall them

...3

A. Conger Goodyear. t he Museum's founding pres1dent. chose

:>

-"'"'

0

the works for the show. which was held from November 7 to De cember 7 . 1929 (f1g. 2.1).' Its installation may now look utterly unexceptional. this manner of presentmg pamtmgs has become

,.. n"' .~ ~

.. !! .. :l :J

so conven t ional that 1ts s1gn1ficance may be completely 1nV1S1ble. But 11 marked the beg1nning of several decades of mnovative exh1 b1t10n design at the Museum of Modern Art. Cezanne . Gaugum, Seurat, van Gogh also contnbuted to the mtroduct1on of a part1cu

a. 0

.. -..•"' .:J ..... 0

a.

tar type of installation that has come to dommate museum prac t1ces. whereby the language of d1sptay articulates a modern1st. seemmgly autonomous aestheticism . For th1s f1rst exh1b1t1on. Barr- who perhaps more than any other md1v1dual has Influenced the reception of modern art 1n the Hanging pictures Is very difficult, I find , and takes a lot of prac· tlce •••• I feel that I am just entering the second stage of hang ing when I can experiment with asymmetry. Heretofore I followed

Un1ted States- thought 1t important to expenment w1th the m stallation. The young d1rector did not completely elimmate trad1 t1onal, symmetncal convent1ons of mstalling PICtures accordmg

perfectly conventional methods, alternating light and dark, vertical and horizontal.

Al fred H Barr, Jr., to EdwardS. King, letter (10 October 1934) 2 .1

There Is no such thing as a neutral Installation. A work of art is so

Muse~.om of Modem Ar t's maugural exhobltJor orstallcd by Allred H B.trr, Jr

Cezanne Gaugum, Seural , von Gogh, Museum of Modern Art , Nev. York

much like a person - the same work of art reacts diHerently at

7 November to 7 December 1929 Alfred Barr mstallat1ons such as th s one

diHerent phases of history. Installation is a very complicated

enhanced a sense of tlle v.ork of art, the e•h•b1Uon, and the v1ewer s autonomy

exciting subJect.

-Rene d Harnoncourt, 1n "Profiles· Imperturbable Noble" (1960)

Th•s type of mstallat•on method has ~orne so standard that ots laneuagc of form goes unnot ted and seerrs ·mv:slble" to most v1ev.ers But, as IS the case w th o e.tl b Uons th sIS a represent at on on rts own r~ght

-.. !:'

to size and shape. There were. for example. arrangements such

1932 st1ll m Paris pictures were being hung symmetrically and by

as the large van Gogh Irises placed in between two very small

size. not by content. not by date ... and they were "sk1ed •

self portra1ts and framed by two landscapes nearly ident1cal in

Whereas m the Museum. right there m that first show in the Fall

s1ze. For the most part. however. Barr departed from trad1t1onal

of 1929, there were no p1ctures above other pictures. all the

d1splay methods of treatmg paintings as room decor and present

walls were neutral. and the pictures were hung mtellectually,

ing them ·skied.· 1n salon-style installations.

chronologically. ... Previously, the walls would be e1ther panel-

In keepmg w1th the new installation methods for pamting

mg or else they would be brocade-red brocade, blue brocade.

and sculpture that were being developed within the 1nternat1onal

green brocade which would suck the color out of the pictures.

avantgardes during the 1920s and 1930s. Barr covered MoMA's

Instead, the idea was to let the pictures stand on the If own feet. •

walls with natural-color monk's cloth and eliminated skying. In· stalling paintings at approximately eye level on neutral wall sur-

Beaumont Newhall, who was hired as MoMA's librarian in

faces in spacious arrangements became a common practice

1935 and later served as the director of the photography depart·

during the 1930s. Previously, even in avant-garde exhib1t1ons,

ment from 1940 to 194 7, helped Barr install the 1935 Vincent

paintings were almost always hung very close to one another 1n

van Gogh exhibition (fig. 2.4). In a recollection published 1n 1979.

trad1t1onal Interiors and were skied. Two of the best-known mod-

he also emphasized Barr's exhib1t1on technique.

ern art Installations of the first quarter of the twentieth century the 1913 Armory Showm New York and the Kaz1m1r Malev1ch gal

The van Gogh exhibition. like so many of Alfred's shows. was

lery at the 0.10: The Last Futurist Exhibition of Pamtmgs in Petro-

more than a superb loan collect1on. The p1ctures were not hung'

grad 1n 1915 and 1916-were arranged in th1s manner (figs. 2.2

symmetrically by size. with the largest m the m1ddle of the wall.

and 2.3). W1th the establishment of the spacious. modern diS-

the next largest at the ends and the smallest m between, as in

play method as the standard in the 1930s and 1940s. 1t has

most museums of the time. No, the p1ctures were hung m logical

become relatively rare for a collection of modern art to be 1n

sequence dependmg on style and penod. well spaced so they d1d

stalled accordmg to a skied plan; one such except1on is found at

not impmge upon one another, and w1th explanatory labels. AI·

the Albert C. Barnes Foundation in Merion. Pennsylvania. 3

fred believed that an exhibition should eluc1date as well as give

Barr's wife, art historian Margaret Scolari Barr, was em-

aesthetic pleasure. The labels for this show, bes1des giving title,

phatic 1n a 197 4 mterview about the importance of his mnovative

date, and name of lender, contamed excerpts from van Gogh ·s

exhib1t1on technique for MoMA's first show.

letters to his brother Thea, often describing the very picture on display. Alfred asked me to help tack them up. The Good Samari

It occurred to me that I have not made it clear ... what was so

tan label included a small mounted photograph of the Delacro1x

novel about this kmd of exhibition. What was novel, apart from

paintmg upon which van Gogh had based h1s paintmg.

the cho1ce of pamtmgs ... was how they were installed ... they were installed on plain walls; if the walls were not totally wh1te

Although there were no labels in the first show. d1dact1c la-

then they were the palest gray. absolutely neutral. And in the

bels had become a hallmark of Barr's exh1b1t1on techn1que by the

most novel way they were installed not symmetrically. ... {l]n

time of the van Gogh exhibition and were another 1nd1cator of

r

I

-

llo

....,.. -.."e ...

.•-. .."Q.

~-

••

~

·•

~.

-..-.. --"... 0

•

,0

31:

..,&.

-".3.. ... -

•

"" 0

..

~

.,

::1'

;;·

~.. "

Q.

-·..... 0

!l

-.. "'0

~

~

.... --.. Q.

~

2.2 re Last Futvnst E:•htb•t•on of Pamtmgs. Petrograd, 1915-1916.

2.3 The •..trmor~ ShO.,. • Ttrc /nternauonal E:• htbttiOn of Modem Art. s ,.cy.n.nth

Regoment Armor\, New York 17 Februaq to 15 March 1913

Barr's curatonal departure from decorative exhibition installa-

1993 outlined the genesis and formulation of hts and Barr's new

ttons. Margaret Barr stressed the importance of the type of label-

mstallation method:

mg her husband introduced: "The labels that my husband used to wnte were not only labels for each picture. but they were general

Alfred Barr and I were very impressed w1th the way exhibitions

tntellectual labels to make people understand what they were

were done in Weimar Germany-at the Folkwang Museum in Es-

seetng ... they explatned the general nature ... of that room or

sen especially(fig. 2.5). That's where they had be1ge s1mple walls

of the whole exhtbitton .... Such a thing had never been done

and the modern was known there. It wasn't known m thiS country

before." 6 These Alfred Barr exhibitions did not consist of art-

at all. For instance, here all our museums had wainscoting. Of

works m decorattve, or even vaguely stylistic, arrangements; they

course, that's death to a painting. It skys the pamtmg. That was

were compositions in which wall labels explicit ly linked the works

the big battle in hanging paintings . ... The Metropolitan got used

of art historically and conceptually, making visible the unity and

to skying pictures because of those idiotic dados. But if you let

coherence of the show. Barr's labels enhanced the sense of the

the wall go down it's much better. You naturally look slightly down-

exhtbttton as an entity unto itself.

ward. So if you sky a picture you're in trouble. Smce then every-

When asked about the neutral, non-skied installation

body's hung their paintings low. ... Barr thought beige, that

method maugurated at MoMA, Philip Johnson, who was curator

brownish stuff that he used, the monk's cloth, was the most neu-

of MoMA's archttectural department from 1932 to 1934. stated

tral thing he could get. After some time, the modern design

stmply: "That was Alfred Barr." Johnson, whose installation de-

people got hold of it and made it wh1te paint . ... They pamted

stgns for MoMA's 1932 Modern Architecture and 1934 Machme

the walls white . ... Before that it was always the cloth. And, of

Art shows are among the rare exhibition mstallattons that have

course. the cloth was much better. Because it doesn't leave

retamed a prominence in both the art and the archttecturallttera-

marks and the beige color was far better for pamtmg than white.

ture, qutckly added that ·Alfred Barr and I were very close. We

Never, never use white for paintmg. Then your frame IS much

dtdn't do anythmg separate." 7 Having met 1n the spring of 1929

bnghter than your picture . ... If the area around the painting is

when Johnson was a classics major at Harvard and Barr was

bnghter than the painting you're tak1ng away from the pamting.

teachmg at Wellesley, the two men were friends and colleagues

This is what Alfred felt. ... And so the Folkwang Museum espe-

whose relattonship was founded on their passion for modern art

cially impressed us and in Basel what impressed us was the spar-

and architecture. 8 By the summer of 1929 Barr had accepted the

sity of the hanging which Alfred tried to use ... of course we knew

dtrectorship of the Museum. In September of the fo llowing year,

those famous rooms of Alexander Dorner in Hanover. Essen, on

after he had finished his degree, Johnson moved to New York,

the other hand, was a more reactionary, normal museum and

where he and the Barrs rented apartments in the same building.

they still hung paintings low, against neutral backgrounds. with-

Both men had traveled, individually and together, throughout the

out trim, and in an architectural manner. 9

Contment during the late 1920s and early 1930s, and thetr creattve exhibttton methods were conceived withtn the context of the

Johnson also discussed the problems of tnstallmg an exhi-

museological innovattons taking place in Europe. Johnson tn

bttion in MoMA's first building, a townhouse on Ftfth Avenue,

...,.

7

•e. ..•"

..= ..-.. . Q.

::J

0

::J

0'

~

....&. ..-·3 ::J

,.,

•

::r

::J

~

...

::r

,."

.:l

.. ::J

Q.

0

-· .. :l b And m h1s first exh1b1tion

mcluded chantmg. In preparing for the exhib1t1on. a memo was

at the Museum of Modern Art. d'Harnoncourt deliberately made

sent to the staff of the Museum explaining that sand pamting

VISible the fact that different installatiOn strategies could be de-

was a ntual and for those creating the paint1ngs represented a

ployed w1thin a single exhibition in order to produce varied mean-

2 .29

O'Harnoncourt woth Klumb. "lndoan Art tor Modern lovong• scctoon Wood p.mel case contaonong cape, dress. and

s~o

suot maae of materials

0

~

~

&.

•3

.-.

-3

"'~ ::>

Steichen's Involvement with the presentation of photogra-

were cons1stently •nstalled 1n predominantly white or sometimes

phy at the Museum actually began during World War II when he

neutral·colored galleries w1th images set 1n white mats, framed

produced the hugely popular. propagandistic photo-spectacle.

at a standard height. The 1976 Harry Callahan exh1b1t10n 1s a

Road to Victory

10

1942 (d1scussed more fully in chapter

4 ). 96

parad1gmat1c example of th•s type of Installation (fig. 2.39)

0

.,.. -·"-:r

~

.. ::>

Q.

0

This type of exh1b1t1on was a walk-through photo-essay with en

There were no more exh1b1tions dealing w1th photography's

larged 1mages mstalled Without frames or mats, mounted flush

contnbut1on to the mass media. like the 1965 exh1b1t1on The

aga1nst the wall or on spec1ally constructed panels and display

Photo Essay, wh1ch was curated by Szarkowsk• and mstalled by

structures. Th1s approach to the med1um was exemplified by the

the Museum's graphics coordmator. Kathleen Haven (f1g. 2 40)

1949 show The Exact Instant. wh1ch mcluded three hundred

As was appropriate for the subject of the show. displays mcluded

news photographs. they were presented as bold wall-size murals

tear sheets from glossy magazines, prellmmary photo proofs.

mounted on the walls 1n d1verse groupmgs w1thout mats. 1n h1stor

light boxes for transparencies, unmatted photographs arranged

•cal displays

10

1n

v1trines (as was the case with daguerreotypes),

vaned magazme-like group1ngs on the walls, and captions out

and on the pages of actual newspapers and tablOidS tacked on

llnmg the p1cture-story process. There were no longer exh1b1t1ons

gallery walls

that emphas•zed the technolog•cal capac•t•es of the med1um. like

published

1n

1n

dense Installations. Composed of the images

photojournalist•c stones. begmn1ng w1th a fourteen

by-thirty-foot mural of an atom bomb

the 1943 show Actton Photography. And there were no •d•osyn

the Museum's foyer. they

crat1c diSplays to enhance thematiC subjects. like the 1970 exh1

contrasted w1th the first sect1on's •mages of "children in the

bition Protest Photography, wh1ch was the last to suggest the

schoolroom. on the playgrounds." and "juvenile delmquents.· In

d1vers1ty of photo exh1b1t1on and mstallat•on poss1bllit•es at the

many ways th1s exh1b1t1on was a precursor of the most famous

Museum. Protest Photography. selected by Szarkowskl and held

Ste1chen exh•b•t•on, the 1955 Famtly of Man. Wh1le The Exact In

during ant1-V1etnam War protests and the New York art•sts'

stant mcluded many of the themes of th1s later show, the two

stnke. was a selection of images document•ng the ·act•v•t•es of

d1ffered 1n tone: Famtly of Man was somewhat romantic, whereas

young people th•s month"

10

1n

the Umted States. Unframed bluck

Instant was much more hard·hinmg n showing the dark

and white pnnts were tacked on the wall in rows; the dates of

s•de of human nature and a much greater percentage of 1ts

the events depleted 10 the photographs were g•ven as capt1on1ng

The

E~acc

-..

•

Kathleen Haven, curator John Szarkov.sk • Tne Pnoco Essa;. M1.1seum ol

Modern Art, 16 March to 16 May 1965

...... 0

dev1ces . The last image in the show, isolated on one wall, was the famous photograph of the woman crymg over a body at Kent State. For the past twenty-five years, the Museum of Modern Art's

Rene d'Harnoncourt's Vistas and Affinities and the Museum of "Primitive" Art

photography department has presented exh1b1t1ons that feature the aesthetics of photography, which is, of course, a fundamental area for those creating exhibitions in an art museum to explore.

A survey of the history of installations at MoM A makes clear

But aesthetics is only one aspect of a complex med1um. And exhi-

the shift in the late 1960s and early 1970s to lim1t the ra

bitions such as the 1970 Photo-eye of the 20s and the 1978

of display techniques was in part related to the consol1datio

M1rrors and Windows have, without exception, remscribed pho

display conventions as the Museum's institutional pract

tography within modernist- and avowedly forma list- instal-

were established. This conclusion can be drawn from an ex


Q.

0

CT

.. -..,..., 0

..... -.. ~

:····: ••••

Q.

!:"

2 .46 o· ~arnoncourt,

Marquesas Islands sect,on. Arrs of rne Sourh Seas . 1946

In some sect1ons. there were suggest1ve display devices,

objects· context and function (fig. 2.46). D1dact1c matenal was

such as bamboo poles and pebbled pedestals. In the gallery

present. but 1t was visually unobtrus1ve and kept to a m1n1mum

dealmg w1th the Fly and Sep1k River reg1ons of New Gumea,

All Objects had 1dent1fymg labels and at each sect1on reg1onal

masks were mounted on bamboo poles. and artifacts and figures

maps were marked w1th areas of affin1ty. Because of these van

were placed on a very low and curved pedestal whose display

ous display strateg1es. the viewer traveled from one atmosphenc

surface was covered w1th sand and whose shape evoked that of

space to another. 107 D'Harnoncourt m fact likened the v1ew

a nver (f1g. 2 .45). In the MarQuesas Islands section, there were

er's expenence to that of a traveler movmg from one country

wall drawmgs of 1nd1v1duals w1th tattoos who were holdmg fans

to another, observ1ng contrasts between and s1m1lant1es of

and spears s1m11ar to those displayed nearby; th1s ju~tapos1t1on

cultures. 108

was mtended to mstruct v1ewers visually about these exh1b1ted

D'Harnoncourt conceived this exhibition techn1que in order

A singular and unified installation method was created an

both to highlight the aesthetic validity of the art of the South Seas

aesthetics reigned in d'Harnoncourt's 1954 Anc1ent Art of th

and to g1ve the viewer some sense of these objects' cultures. He

Andes. The exhibition was a more decontextuahzed presentat1o

wrote m the catalogue: "The growing realization in our art world

than that of Arts of the South Seas. 110 The most publicized-an

that a work of art can best be appreciated in the context of 1ts

paradigmatic-display was "the gold room," a large vitrine fille

own civ11izat1on, together with the increasing interest in art shown

with Inca, Chimu, and Mochica jewelry and ornaments. Perhap

by many scientists, holds a great promise." Although this new

more dramatically than any other element of the show, th1s parti

method was devised for an installation whose displays were sup-

ular exhibit highlighted the precious and beautiful qualities of th

posed to evoke every object's indigenous culture, d'Harnoncourt

show's artifacts.

noted that each area of affinity is "based on the character of the

More aestheticized and decontextualized presentations o

objects themselves and does not attempt to show the historic

ethnographic artifacts were practiced within institutions affiliatec

process of distribution of these trends." 109

with MoMA and d'Harnoncourt. The Museum of Primitive Art

Arts of the South Seas was an exhibition rife with ambi-

founded in 1957 with Nelson Rockefeller as president, d'Harnon

ence; the diverse lighting, wall colors, and innovative displays

court as vice president, and Goldwater as acting director, woul
ersa!lons m Postmodern Art and Culture, ed. Russell Ferguson et al. (New

- - - . ed Mtes van der Rohe: Cnttcat Essays. New York: Museum of Modern Art,

York New Museum of Contemporary Art; Cambndge. Mass.: MIT Press. 1990).

1989

339-424 Schumacher. Thomas L. Surface and Symbol: Gtuseppe Terragm and the ArchtrecRudofsky, Bernard 'Notes on Exhtbttton Oestgn. • lntenors and lndustrtal Destgn

ture of Ita/tan Rattonaltsm. New York: Pnnceton Archttectural Press: London Archt ·

106, no 12 (July 1947), 60-77

tecture, Destgn, and Technology Press; Berhn: Ernst und Sohn Verlag fur Archttektur und techmsche Wtssenschaflen. 1991.

Rushtng. w Jackson. ' Marketmg the Affintty of the Pnmtttve and the Modern: Rene d'Harnoncourt and 'lndtan Art of the Untted States.·· In The Early Years of

Schwaru, Jane. 'Exhtbttton of Machtne Art Now on Vtew at Modern Museum • Arr

Nattve Amertcan Art Htstory, ed Janet Cathenne Berlo, 191-236. Seattle: Umver-

News 32, no. 23 (10 March 1934), 4 .

Stty of Washmgton Press. Vancouver: Umverstty of Bnttsh Columbta Press. 1992. Schwaru, Therese. 'The Pohttcalization of the Avant-Garde, ·parts 1. 2. and 3. Art Nattve Ameocan Art and the New York Avant-Garde: A Htstory of Cultural

m Amertca 59. no. 6 (November/December 1970). 96-105; 60, no. 2 (March/

Prtmt!tvtsm. Au sun: Untverstty of Texas Press. 1995.

Apnl 1972), 70-79: 61. no. 2 (March/Apnl 1973), 67-71.

Ruskm. John The Lamp of Beauty. Wnrmgs on Art by John Ruskin, ed. Joan Col

Sekula. Allan. 'The Traffic 10 Photographs.· In Photography agamst the Grain: Es·

llns Oxford Phatdon. 1980

says and Photo Works. 1973-1983, 76-101. Halifax: Press of the Nova Scotta

College of Art and Destgn, 1984. Also published 10 Modermsm and Moderfll!y: The Sachesse. Rolf 'Germany· The Retch.· In A Htstory of Photography: Soctal and

Vancouver Conference Papers, ed. BenJamm H. D. Buchloh. Serge Gutlbaut and

Cultural Perspectt>es. ed Jean-Claude Lemagny and Andre RoUt lie, trans. Janet

Oavtd Solktn (Halifax· Press of the Nova Scotta College of Art and Destgn, 1983),

Lloyd, 150-157 Cambndge; Cambndge Untverstty Press, 1990.

121- 154

Sandburg. Carl. Home Front Memo. New York: Harcourt. Brace. 1943

·self Appeasement as a Great Danger.· Retatlmg. Home Furmshmgs 13. no 38 (22 September 1941). 2

•

Semenova, Elena 'From My Remonoscences of Ussotzky. • In El Llssrtzky by So-

- - - . Objects and Others· Essays on Museums and Materral Culture. ed

ptue Ussotzky Kuppers et al., 23-24. Ex. cat. Cologne Galene Gmurzynska. 1976.

George W Stockong, Jr. Hostory of Anthropology 3 Madoson: Unoversoty of Wosconson, 1985.

·seven Moods of Man.· New York Trmes Magazme. 23 January 1955. 22 - - - 'Pholanthropoods and

Vamsh~ng Cultures.

Rockefeller Fundong and the End

Shaporo. Davod 'Mr. Processoonary at the Conceptacle. ·Art News 69. no. 5 ,Sep-

of the Museum Era on Anglo-Amencan Anthropology.· In Stocking, Ob1ects and Ot11

tember 19701. 58-61.

ers. 112· 142 Race Culture. and EvolutiOn: Essays m the Hrstory of Anthropoloi.) New

Smoth, Fred. 'Challenge of Form.· Sports Illustrated. 14 May 1962.47-52.

York Free Press, 1968 Stange. Maren. Symbols of Ideal Lrfe Socral Documentary Photography m Amerrca. 1890 1950. New York: Cambndge Unoversoty Press. 1989.

Stonge, Carmen Luose 'Karl Ernst Osthaus· The Folkwang Museum and the Dos semonauon of lnternatoonal Modernosm. • Ph.D. doss .. Coty Unoversoty of New York.

Stanoszewsko. Mary Anne Belrevrng Is Seerng: Creatmg the Culture of Art New

1993

York: Penguon. 1995. Storr. Robert. Otslocattons. Ex. cat. New York: Museum of Modern Art. 1991. Oenms Adams The Architecture of Amnes1a. Ex. cat. New York: Kent F~ne 01slocat10ns Ex. pamphlet. New York: Museum of Modern Art. 1991

Art. 1990. 'Desognong Modern Art and Culture. A Hostory of Exhobotlon lnstallatoons at

Stryker, Roy. 'Road to Voctory Photos Captoons from Stryker • No. 39237 D Re

the Museum of Modern Art.· Ph D. doss . Coty Unoversoty of New York. 1995.

cords of the Regostrar Department, Road to V1ctory. MoMA Exhobotoon /1182

Steochen, Edward. The Blue Ghost. New York: Harcourt. Brace. 1947.

Stryker. Roy. and Nancy Wood In Th1s Proud Land: Amerrca 1935-1943 os Seen rn the FSA Photographs Boston New York Graphoc Socoety. 1973

--.'The Famoly of Man.· Prcturescope 3 (July 1955). 7. Suleoman. Susan R and lnge Crosman. eds. The Reader rn the Text Essays on - -. The Famtly of Man. prot . Carl Sandburg. Ex. cat.. Museum of Modern Art.

Audtence and lnterpretatron. Pnnceton Pnnceton Unoversoty Press 1980

New York. New York: Maco Magazone Corporatoon. 1955. Sussman. Elisabeth. ed. On the Passage of a Few People through a Rather Brref - - . comp. The Famrly of Man. prol. Carl Sandburg. Ex. cat.. Museum of Mod-

Moment rn Trme The Sltuatronrstlnternatronal. 1957-1972. Ex. cat .. lnstotute of

ern Art, New York. New York. Somon and Schuster 1n collaboratoon woth the Maco

Contemporary Art. Boston Cambndge. Mass MIT Press. 1989

Magazone Corporation. 1955. Sweeney. James Johnson. 'The Bauhaus-1919-1928 ·New Republrc 11 Janu 'The F.S.A Photographers

U.S Camera Annual (1939). 44

ary 1939, 287.

- - - . U.S. Navy War Photographs Pearl Harbor to Tokyo Harbor. New York U.S

Szarkowsko. John 'The Famoly of Man.· In Stud1es rn Modern Art, seroes ed. John

Camera. 1946.

Elderfoeld Vol . 4, The Museum of Modern Art at M1d·Cenrury at Home and Abroad. 38-54 New York. Museum of Modern Art, 1994

Ste~ner.

Ralph 'Road to Voctory· Top Notch Photos from Steochen Show.· PM

Oa11y. magaz~ne sec. 31 May 1942, 26- 29

'Talk of the Town Mach one Art.· New Yorker, 17 March 1934, 18

Stephens. Suzanne. 'Lookong Back at Modern Archotecture' The lnternatoonal

Talley. Manfoeld Korby. Jr. 'The 1985 Rehang of the Old Masters at the Allen Memo

Style Turns 50.' Specoal sectoon 1n Skylme. February 1982, 24-27.

roal Art Museum. Oberhn, Ohoo • lnternatronal Journal of Museum Management and CuratorshiP 6 , no 3 (September 1987). 229-252.

Stockong. George w . Jr 'Ideas and lnstotutoons 1n Amerocan Anthropology: ThOughtS tov.ard a Hostory of the Interwar Years.' In Selected Papers from the

Troy, Nancy J The De St1}l Enwonment Cambrodge, Mass : MIT Press, 1983.

American 4nthropoiOglst, ed George W Stockong. 1-53. Washington . D.C.: Amero·

can Arlthropotog~cal Assoclatoon, 1976

Tschochold, Jan. 'Do splay That Has DYNAMIC FORCE : Exhobotoon Rooms Oesogned by El Ussotzky • Commercial Art (london) 10, no 55 (January 1931). 22

Cll

w

UNESCO. The Race Quest1on m Modern Sc1ence Race and Sc1ence. 1951: rev.

Wtngler. Hans M. The Bauhaus; We1mar, Dessau. Berlm. Ch1cago. ed Joseph

00

ed . New York: Columbta Umverstty Press . 1961

Stem. trans Wolfgang and Bastl Gilbert. 1962; rev. ed Cambrtdge. Mass

(II

MIT

Press, 1986 U.S . Navy. Po~+er m the Pactfic. comp. Edward Ste•chen. New York U.S Camera Wtnkes. Rolf Foreword to Late Roman Art Industry, by Alots Rtegl. trans Rolf

Publtshmg, 1945.

Wtnkes. XII ·XXIV. Rome Gtorgto Bretschnetder Edttore. 1985 Power m the Pactfic. Ex. cat .. Museum of Modern Art. New York. New York: Wtlltam E. Rudge's Sons. 1945.

Wtnkler, Jurgen Der Arch1teckt Hannes Meyer: Anschauungen und Werk. Berltn: Veb Verlag fur Bauwesen. 1989.

·useful ObJects under Ten Dollars.· The Museum of Modern Art {Bulletmj6. no. 7

(7 December 1939 7 January 1940), 3

Women Arttsts tn Revolution. A Documentary Herstory of Women Arttsts m RevolutiOn. New York: Women Arttsts m Revolutton, 1971.

Vatllant, George C Indian Arts m North Amenca. New York: Harper and Brothers. Wnght, Frank Lloyd. "Of Thee I Stng. • Shelter 2. no. 3 (Aprtl 1932). 10-12.

1939 .. Masterpieces of PflmltiVe Sculpture: By Thelf Arts You Shall Know Them. Ex. cat. Guide Leaflet Senes of the Amencan Museum of Natural H1 story 99. New

Yust, Walter, ed. 194 7 Bntanmca Book of the Year: A Record of the March of Events of 1946. Ch1cago: Encyclopaedia Bntann1ca, 194 7.

York : Amencan Museum of Natural Htstory. 1939. - - - . ed. 1948 Bfltanntca Book of the Year: A Record of the March of Events of Varnadoe, Ktrk . ·on the Cla1m and Cnttcs of the 'Prtmlttvtsm' Show.· Art m

194 7 Chtcago: Encyclopaedta Bntanmca. 1948.

Amenca 73. no 5 (May 1985). 11 21. -. ed. Bmanmca Book of the Year 1953: A Record of the March of Events of ·v,sual Road to Vtctory. ·Art News 4, no. 9 (August-September 1942). 26-29

1952 Chtcago: Encyclopaedia Brttanmca. 1954.

Vogue (Fashton photo feature us1ng MoMA's Japanese Exhlbttton House). 1 Sep-

- -. ed Brttanntca Book of the Year 1954: A Record of the March of Events of

tember 1954. 179 ·183.

1953 Chtcago: Encyclopaedia Brttanntca, 1954.

Wade. Edwtn L "The Ethn1c Art Market 1n the Amencan Southwest. 1880-1980. •

- -. ed Bfltanmca Book of the Year 1955: A Record of the March of Evenrs of

In Objects and Others Essays on Museums and Matenal Culture, ed. George W.

1954 Chtcago: Encyclopaedta Brttanmca. 1955.

Stocktng, Jr .

167~191 .

Htstory of Anthropology 3. Madtson: Untverstty ofWtscon-

stn Press, 1985.

- -. ed Brttanmca Book of the Year 1956: A Record of the March of Evenrs of

1955 Chtcago: Encyclopaedta Brttanntca. 1956. ·The History of the Southwest lndtan Ethn1c Art Market.· Ph.D. dtss.. Untverslty of Washmgton, 1976

Zeller. Terry. "The Htstortcal and Phllosophtcal Foundations of Art Museum Educa tton 1n Amenca. • In Museum Educattan: History, Theory, and Pract1ce, 10-89. Res

"Straddling the Cultural Fence : The Confltct for Ethn1c Arttsts wtthtn Pueblo Soctettes • In Wade, Arrs of rhe Norrh Amencan Indian, 243-254. - -. ed . The Arrs of !he Norrh Amencan lnd1an: Na!IVe Traditions m Evolution. coordmatmg ed . Carol Haralson. New York : Hudson H1lls Press. 1986. W1gley. Mark Whtte Walls, Des1gner Dresses: The Fash1onmg of Modern Architecture Cambrtdge . Mass MIT Press, 1995. Wtllen. John. Arr and Pol1t1cs m the WetmarPenod.· The New Sobnety. 1917-

1933 New York: Pantheon Books, 1978 Wt llkte, Wendell L One World. New York. Stmon and Schuster. 1943

ton, Va .: Nattonal Art Educatton Assoc1atton, 1989.

Reproduction Credits

F1gures 2.6, 6.2

t:

Dan Budnik.

Figures 2 11. 2.42. 2.43, 2 56. 2 57, 2.61, 2.62: The Museum of Modern Art. New York. F1gures 2 16. 4 .13. 4 .14. 4 16: Photograph courtesy The Museum of Modern Art. New York. F1gure 2.22: The Metropolitan Museum of Art, New York. F1gures 2.31. 2.32: Jul•us K~rschner. Courtesy Department Library Serv•ces. Amer· 1can Museum of Natural H1story. F1gures 2.44. 3.46. 3.48: Ezra Stoller Cl Esto. F1gures P.1. 2.10. 2 41, 2.48. 2.51, 3.48, 6.13: Mary Anne Stan1szewsk1. F1gures 2.47. 2.49, 2.50: The Metropolitan Museum of Art. New York. The ar· F1gures P.2. P 3. P 4, P 5. P 6. 2.1, 2.4. 2.9, 2 12. 2.13. 2.15. 2.17. 2.18. 2.19,

ch1ves of the Department of the Arts of Afnca. Oceania. and the Amencas.

2 20. 2.21. 2 23. 2 24,2 25. 2 26, 2.27. 2.28. 2.29, 2.30. 2.33. 2.34. 2.35, 2.36. 2.37, 2.38. 2.39, 2 40, 2 44, 2.45. 2.46, 2.52, 2.53. 2.64. 2.65. 2.66.

F1gures 2.52. 2.53, 5 12: The Museum of Modern Art Cl1997.

2.67, 2 68. 3 1. 3 7, 3 11. 3.12, 3.13. 3.14. 3.15. 3.16. 3.17, 3.18. 3.19. 3.31, 3.33. 3.34, 3 39.3 40,3 41, 3.42, 3.43. 3.44. 3.45. 3.47, 4.3. 4.4. 4.5.

F1gure 2.54 Courtesy Department L1brary Serv1ces. Amencan Museum of Natural

4 6. 4.8. 4 9. 4 11.4 12.4 17.4 21.4 23.4 25.4 26.4 27, 4.28. 5.4. 5.5.

HIStory.

56. 5.10. 5.11. 5.12. 6.3: The Museum of Modern Art ouot

Commercoal dosploy~. 84. 94 See also Commercoal

Decorateurs

Entartete Kunst. 25

showrooms , Department stores , Stores Commercial

shov.room~ .

~tores,

-"

291 See at so Department

Stores

De\'oey, John. 158, 270, 313 (n , 31). 317 (n. 3), 318 (n . 38) D'Harnoncourt, Rene , 61- 70. 84 ·99 (and fogs .

Ernst, Max. 24 134, 136 Esprot Nouveau Pavollon. 75 Essentoallsm. 8, 125. 129. 158, 236. 255, 293 Ethnographoc art and artifacts, xx11 , 16, 65 (fog 2 5),

Communosm, 151 , 336 (n. 1121

2 .21- 2.24, 2 .27- 2 29 ), 101, 110- 118

Conceptual Art, 269. 276. 280 282 285. 286

(and

Constantone, Moldred, 192- 194 (and figs. 3 .41,

2.51), 124 , 125, 128 (and fog . 2.57).

116-118. 124- 128 (and hgs. 2.54 ,

129- 137 (and fogs 2 58· 2 66). 139

2 .55). 291, 320 (n. 68). See also Amero

Constructovosm , 8, 14, 21, 74, 312 1n 18)

(and fig. 2 .68). 188. 202 (fog. 3 47),

can Museum of Natural History: Metro

Cooper, Dan, 134

210.224.238, 291.292,322tn 1031

polttan Museum of Art , Mex1can Arts.

3.42)

Cootswytewa , Voctor. 88, 90 (log. 2 .25)

~gs.

2.44 -2 .4 7). 120 (togs 2 50.

vosta technoque. 88 , 111. 112 (and fog. 2.43),

73. 81.82 (fig. 2 .18), 87. 98 - 101.

Museum of Modern Art , exh1b1t1ons. Arts

Copynght , 264, 268

113 (and fig 2 .44), 116. 124. 139,

of the South Seas. Indian Arr of the

Corcoran Gallery of Art (Washongton), Power m the

174. 176, 238(see also lnstallatoon

Untted States, and "Pnmt!lwsm • m Twcn

methods. vostaJ

11eth Century Art. Museum of Promttovc

Pac1hc, 226 (fog. 4 .10). See also Mu

seum of Modern Art. exhobotoons, Power

Doetroch. Marlene, 94

on the Pacific

Dtvorce. 254- 255, 337 (n. 1161

Art ·pnmotove art• and Museum of Promotove Art 323 (n.

1111

Corporate culture, 259 See also corporatoons

Documenra. 268. 342 (n. 161

Corporatoons, 224. 281. 285, 295. See at so Mu-

Doesburg, Theo van , 14. 16, 17. 134

Ethnographoc surrealism . 324 (n . 122)

seum of Modern Art. corporate dona

Dohrn, 8ernardone , 278

Evans, Walker, 196. 197 (fog 3 44), 198 (fog 3 .451

toons tor e•h•b•toons: Museum of MOdern

Oomonguez. Oscar, 136

A