In this highly original study, Jeremy Braddock focuses on
collective forms of modernist expression--the art collection, the
anthology, and the archive--and their importance in the development
of institutional and artistic culture in the United States.
Using extensive archival research, Braddock's study
synthetically examines the overlooked practices of major American
art collectors and literary editors: Albert Barnes, Alain Locke,
Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound,
Katherine Dreier, and Carl Van Vechten. He reveals the way
collections were devised as both models for modernism's future
institutionalization and culturally productive objects and
aesthetic forms in themselves. Rather than anchoring his study in
the familiar figures of the individual poet, artist, and work,
Braddock gives us an entirely new account of how modernism was
made, one centered on the figure of the collector and the practice
of collecting.
"Collecting as Modernist Practice" demonstrates that
modernism's cultural identity was secured not so much through the
selection of a canon of significant works as by the development of
new practices that shaped the social meaning of art. Braddock has
us revisit the contested terrain of modernist culture prior to the
dominance of institutions such as the Museum of Modern Art and the
university curriculum so that we might consider modernisms that
could have been. Offering the most systematic review to date of the
Barnes Foundation, an intellectual genealogy and analysis of "The
New Negro" anthology, and studies of a wide range of hitherto
ignored anthologies and archives, Braddock convincingly shows how
artistic and literary collections helped define the modernist
movement in the United States.
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