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The Armory Show at 100Modernism and Revolution

Published by GILES in association with the New-York Historical Society

Out of Stock

The Armory Show at 100 - Cover

The Armory Show at 100 - Double page spread

The Armory Show at 100 - Double page spread

Published — (UK and USA)

Dimensions — 512 pages, 305 x 252 mm, (9 x 12 in), portrait

Illustrations — 160 colour and 160 b&w

Format — Hardback

Price — UK£49.95/US$79.95

ISBN — 978-1-907804-04-5

Press Release — Celebrating a pivotal moment in American artistic...

News  —  The Armory Show at 100 wins prestigious award

            —  The Armory Show at 100 now back in stock

            —  Armory Show at 100 is one of the best art books...

            —  How an art show stunned the nation

            —  The Naughtiest Picture Of 1913 ‘Nude Descending A...

            —  The Armory Show at 100 opens October 11

            —  Beauty’s Legacy and The Armory Show at 100 - see...

Sales Points

Winner of CHOICE’s Outstanding Academic Title 2014 

"The catalogue is absolutely first-rate"—Karen Wilkin, The New Criterion

"It conveys a good idea of how and why an exhibition that happened a century ago is still worth thinking about"— Ken Johnson, The New York Times Holiday Gift Guide

"Will offer nuance to the standard shock-and-awe Armory story"— Holland Cotter, The New York Times

"While the Armory Show may now be only a vague historical event, by the end of 2013 we should all have given it a thorough reconsideration"— James Panero, The New Criterion

"Giving a wide cultural and social picture of New York in that era"— The Art Newspaper

An "impressive volume"— Maine Antique Digest

"A monumental undertaking worthy of the Armory Show's 100th anniversary"—W. L. Whitwell, CHOICE

"It will serve as the definitive book on this topic for years to come"—Isabel Taube, Nineteenth-Century Art Worldwide

About the Book

The 1913 Armory Show is remembered as the moment when the American public was introduced to European avant-garde art, by artists such as Marcel Duchamp, Henri Matisse, and Pablo Picasso. Published on the Show’s centenary this striking volume re-examines this pivotal moment in American artistic and political life, shedding new light on the artists represented, and on public and media reception of the works.

About the Author(s)

Authors Marilyn Satin Kushner is Curator and Head, Department of Prints, Photographs, and Architectural Collections at the New-York Historical Society; Kimberly Orcutt is the Curator of American Art at the New-York Historical Society; Casey Nelson Blake is Professor of History and American Studies at Columbia University. Contributors William C. Agee, Professor of Art History, Hunter College, City University of New York; Judith A. Barter, Field-McCormick Chair and Curator of American Art, The Art Institute of Chicago; Avis Berman, Writer and independent art historian; Daniel H. Borus, Professor of History, University of Rochester, New York; Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra; Conductor Laureate, Jerusalem Symphony Orchestra; and Editor, The Musical Quarterly; Sarah Burns, Professor Emerita, Department of History of Art, Indiana University, Bloomington; Barbara Haskell, Curator of Early Twentieth Century Art, Whitney Museum of American Art, New York; Susan Hegeman, Associate Professor of English, University of Florida, Gainesville; Susan G. Larkin, Independent art historian and curator; Doïna Lemny, Assistant Curator of Modern Collections, National Museum of Modern Art, Centre Pompidou, Paris; Laurette E. McCarthy, Independent scholar and curator; Anne McCauley, Professor of the History of Photography and Modern Art, Princeton University, New Jersey; Virginia M. Mecklenburg, Senior Curator, Smithsonian American Art Museum, Washington DC; Charles Musser, Professor of Film Studies and American Studies, Yale University, New Haven, Connecticut; Francis M. Naumann, Francis M. Naumann Fine Art, LLC, New York; Roberta J. M. Olson, Curator of Drawings, New-York Historical Society; Didier Ottinger, Deputy Director, National Museum of Modern Art, Centre Pompidou, Paris; Max Page, Professor of Architecture and History, University of Massachusetts in Amherst; Aimée Brown Price, Independent art historian and curator; Gail Stavitsky, Chief Curator, Montclair Art Museum, New Jersey; Michael R. Taylor, Director, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Martha Tedeschi, Deputy Director for Art and Research, The Art Institute of Chicago; Carol Troyen, Curator Emerita of American Paintings, Museum of Fine Arts, Boston.