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The Great American Thing: Modern Art and National Identity, 1915-1935, by Wanda M. Corn
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Wanda M. Corn's long-awaited new book proposes a remarkable revisioning of the history of American modern art between the two world wars. Moving away from issues of style and abstraction, she bases her work on a broad examination of culture and on discourses of national identity. Corn argues that the key questions for interwar modernists in New York and Paris were whether or not it was possible to create an art that was both American and modern, and if it was, what such an art would look like. Both European and American artists debated these questions and made art that responded to them.
Corn organizes each chapter around a careful reading of a work of art, probing first its peculiar poetry and style and then its connection to its artist and the cultural influences surrounding it. The result is an unfolding of the work's contingent relationships with history, literature, art criticism, music, and popular culture. The works she examines—from those made by the Stieglitz circle to those by European Dadaists—were part of the quest for "the Great American Thing," a quest that was international in scope and that inspired a decade of vibrant cultural exchange between the art capitals of Europe and New York.
Passionate and eminently readable, with more than 300 illustrations—drawings, paintings, sculptures, advertisements, cartoons, and documentary photographs—The Great American Thing indelibly alters the way we think about the first decades of American modernism and the legacy it created.
- Sales Rank: #1007386 in Books
- Published on: 2001-10-03
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x 1.50" w x 8.50" l, 3.90 pounds
- Binding: Paperback
- 470 pages
From Publishers Weekly
The story of how Alfred Stieglitz's shifting band of merry ex-pats and homegrown experimenters invented American modernism has been oft and well told, but never with Corn's combination of lucidity, subtlety and clear-eyed sympathy with the workAand the jingoistic America from which it emerged. Corn looks at the work of five American artists, dividing them into the "Transatlantics" and the "Rooted." Like Duchamp and Picabia (who paved the way with "Am?ricanisme"), two other "transatlantics," Gerald Murphy and Joseph Stella, thought that America provided the perfect context for a machine-age art. For Corn, Stella's heroic stylizations of Manhattan's newly built skyscrapers are an attempt to paint through "the European's highly reductive schema of New York," and get at its relentless modernity. The brash flatness of American billboards appears in Murphy's work in Paris, and in that of the "rooted" Demuth, who because of delicate health lived in Pennsylvania. Unlike Demuth, two other "rooted" artists, Corn argues, tried to recover a more historical understanding of what American art wasAGeorgia O'Keeffe looked to a Native American past in New Mexico, and Charles Sheeler incorporated vernacular elements like Shaker furniture into his canvases. Corn matches a terrific sensitivity to form with a winning curiosity about the artists' biographies and nods to period criticism. While a sense of broader social processes shaping artistic production (and the American public) doesn't really come through, Corn's nuanced descriptions of the individual artists, their lives and their materials mirror perfectly their search for "American" modes of expression. (Nov.)
Copyright 1999 Reed Business Information, Inc.
From Library Journal
Keying off a phrase by Georgia O'Keeffe regarding the "Americanness of American culture and life," art historian Corn (Stanford Univ.) probes the European roots of interwar American modernism in six chapters, each organized around a single work of art. In Part 1, "The Transatlantics," she demonstrates the cultural dynamism between Paris and New York through analyses of representative work by Duchamp, Gerald Murphy, and Joseph Stella. Part 2, "The Rooted," extends urban art synergy to American regionalism as manifest in works from the late 1920s and early 1930s by Charles Demuth, O'Keeffe, and Charles Sheeler. Although deeply formalistic, Corn's analysis moves successfully beyond individual paintings to explore the artistic, historic, and cultural milieu surrounding each artist. The result is a wide-ranging, accessible, and erudite discourse on both the international and homegrown origins of American modernism. Suitable for research-level collections.ARussell T. Clement, Univ. of Tennessee Lib., Knoxville
Copyright 1999 Reed Business Information, Inc.
Review
"This profusely illustrated work suggests new and sometimes surprising answers."--"Art Newspaper
Most helpful customer reviews
18 of 19 people found the following review helpful.
enlightening but a little incomplete
By Herbert
Wanda Corn's book is the most extensive atttempt to put early modern art in the United States into its social, historical, and cultural context. In doing this, it has little competition. Most books in this field have been monographic studies of style--in other words mostly formalist analyses purely and totally. It is fortunate that Corn makes the central thesis of her book quite clear in the introduction and first chapter. She believes that there are connections between style and culture and she is determined to connect the visual with the social-historical meanings it often conveys.
Corn has done an enormous amount of research for this book and she provides many new insights. She connects the art to the time and place of creation with insight, enthusiasm and a lot of evidence to back up her opinions and observations. She even identifies, describes and traces the cultural roots of a distinctly American aesthetic in early modern painting that she labels "billboard cubism." The book is structured with a long introduction, six chapters in which a single work by one artist is the focus (although many other works are discussed along the way) and an epilogue to trace how the issues at hand evolved after the period of time covered in this book.
The book has some problems. The basic structure of the book as a series of case studies is somewhat off-putting. It is not clear how relevant the author's arguments focused on six works by six very different artists are to the breadth of art produced at this time. Her decision to make Gerald Murphy and not Stuart Davis the focus of one chapter is perplexing. Davis is much better known, he was more prolific, and there is more literature (although still not enough to answer some enduring questions) on him. The first chapter, on Duchamp's Fountain, tends to become somewhat unfocused as the author casts her perspective on the work's context a little too wide.
All in all, an attractive book with lovely reproductions that is highly informative. Recommended strongly for students of American art and history.
0 of 0 people found the following review helpful.
Informative, but maybe not Corn's strongest work
By lambbop
I love Wanda Corn's writing and this ambitious book was no exception, though the overall concept of this book fell a little flat for me. I am used to reading her scholarly articles and other shorter works which tend to be tied together a little stronger. She is an expert on Regionalism and public works, and I used several of her works in my research for both my undergraduate and graduate theses. I still enjoyed this book, but wish the theme was more present throughout the book. More examples would have definitely helped make a case for defining 'Americanness," but it is such a difficult 'thing' to define that I am not sure any author could do it completely.
0 of 0 people found the following review helpful.
Five Stars
By Sun Yiqin
This book is helpful. Thank you.
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