But even then, Beckmann will be there before you, and seem more at ease. And in how he stands and where he’s chosen to stand, it’s also clear that he can leave, that he can move out the door just to his right. Again, the sense that he belongs here, that he knows better than you how to dress and what to do, gives the impression that you aren’t an audience viewing him, but that he is giving you an audience instead. He belongs, we don’t, or don’t so well as he. Max Beckmann's 1927 Self-Portrait in Tuxedo, appreciated by Harvard art historian Joseph Koerner. [more inside]
One hundred years ago today in 1913, an art exhibition opened in New York City that shocked the country, changed our perception of beauty and had a profound effect on artists and collectors. The International Exhibition of Modern Art — which came to be known, simply, as the Armory Show — marked the dawn of Modernism in America.
The Modernist Journals Project collects literary arts journals from the late 19th and early 20th centuries, including both issues of Wyndham Lewis' Vorticist manifesto Blast, the first ten years of Poetry magazine (with Amy Lowell, T.S. Eliot, G.K. Chesterton and foreign correspondent Ezra Pound), topical essays, the Virginia Woolf-inspired December 1910 Project, the amazing proto-dada zine Le Petit Journal des Réfusées and a searchable biographical database of famous and not so famous artists and writers.
4 Artists Paint 1 Tree, a segment from Disneyland included on the recent DVD release of Walt Disney's Sleeping Beauty, features the artistic process of one of my favorite painters and cartoon modernists, Eyvind Earle. If you've seen Sleeping Beauty, Lady and the Tramp, Paul Bunyan or Peter Pan, you're familiar with the fantastical and brilliant landscapes he produces. His paintings show a particular fondness for Big Sur and Central California.
Ton Mondrian Is Even Worse Than Mon Mondrian: Use the machine to see how you square up to the Master. [Shockwave required; first link via Bifurcated Rivets.]