Circulating Exhibition
Circulating Exhibition
Circulating Exhibition
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Circulating Exhibitions 1931-1954
The early development of the Departmnentof Circu- What Is Modern Painting?. In the basement of the
lating Exhibitions under the imaginative leadership Museum of Modern Art, The Classical Motif-
of its first Director, Miss Elodie Courter, was re- paintings and prints on antique themes by such
ported in "Art for the Nation" in the Museum's masters as de Chirico, Braque, Blume and Dali - is
Bulletin for September, 1940. "The Museum Goes being prepared for shipment to the Municipal Art
A broad," issued in November, 1944, dealt with our Center at Long Beach, California.
pioneer ventures in sending exhibitions overseas Outside this continent, the Kunstnernes Hus in
an activity recently greatly expanded with the inau- Oslo, Norway is host to an exhibition of Twelve
guration of the International Exhibitions Program. Modern American Painters and Sculptors. This
The following article is intended to give a more com- opened at the Musee National d'Art Moderne, Paris,
prehensive picture of the Museum's circulation of in April, 1953 and has since been seen in Zurich,
exhibitions, an aspect of its operation that is almost Dusseldorf, Stockholm and Helsinki. In Sao Paulo,
unknown to its members in the metropolitan area, Brazil, the II Bienal of the Museu de Arte Moderna
and familiar to those elsewhere principally as it af- is drawing to a close. The U. S. representation con-
fects their local comnmunities. sists of three shows prepared by the Museum of
PORTER A. MCCRAY, Director Modem Art: 45 works by Alexander Calder; paint-
Department of Circulating Exhibitions ings, drawings and prints by 16 artists ranging from
Baziotes and de Kooning to Ben Shahn and Alton
As this is written, an exhibition entitled Six Artist- Pickens; and Built in U. S. A. - the Latin-Ameri-
Teachers in America is en route from Northern can version of the show already mentioned as en
Illinois State Teachers College at De Kalb to Kan- route from Winnipeg, Manitoba to Cambridge,
sas State Teachers College, Pittsburg, Kansas. The Massachusetts.
Currier Gallery of Art in Manchester, New Hamp- The titles enumerated above represent a cross-
shire, is showing The Architecture of Japan, and in section of the more than 70 offerings which the
Ohio a memorial exhibition of paintings by Niles Department of Circulating Exhibitions has made
Spencer is having its premiere at the Akron Art available in this 20th season since its establishment
Institute. A major architectural exhibition, Built in in 1933. Circulation of exhibitions by the Museum
U.S.A.: Post-War Architecture, is on view at the of Modern Art, however, antedates the founding of
University of Manitoba, Winnipeg - the previous the Department by two years. Since 1931, the Mu-
attraction at that institution, The Modern Move- seum has sent out 461 exhibitions (exclusive of
ment in Italy, having just been shipped on to the duplicates or multiple copies), which have had over
next place on its schedule, The Massachusetts Insti- 7,400 showings at more than 3,700 public and pri-
tute of Technology. The J. B. Speed Museum in vate organizations in the United States and 37 for-
Louisville is featuring Post-War Photography in eign countries. (A complete listing and pertinent
Europe, while Maryville College in Tennessee has statistics will be found on pp. 21 to 30.) But, as
on display The Versatile Medium, comprising William M. Milliken, Director of the Cleveland
watercolors and gouaches by late 19th- and 20th- Museum of Art, wrote on the occasion of the 20th
century painters. The Hill School at Pottstown, anniversary of the Museum of Modern Art in
Pennsylvania is showing Early Works by Modern November, 1949, such a summation "is merely a
Masters - originals by Juan Gris, Feininger and statistical statement, which, in its baldness, can give
Beckmann, among others - as well as one copy of no indication of the extraordinaryimpression these
the perennially popular exhibition of reproductions, exhibitions have made."
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CUBISM AND ABSTRACTART, an early landmark among traveling exhibitions, at the San Francisco Museum of Art, July-August 1936
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A section of the exhibition PICASSO: FORT1r YEARS OF HIS ART, shown at
1940~~~~~~~~~...
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the Cleveland Museum of Art, Winter
tion workingexclusivelyin the contemporary,in- West the transportationcosts for even medium-
ternationalfield, it should have a "missionary" sized exhibitions are excessive. Our budgets are
responsibilityfor promotingan understandingof small. Quality means everythingto us, since our
whatit regardsas the mostvital art beingproduced programis limited to certain months of the year
in our time. The Departmentof CirculatingExhi- and our resourcesother than travelingexhibitions
bitionshas, therefore,tried to providematerialof are slight.... For this reasonthe showssent out by
highqualityin all themediawithwhichthe Museum your museumhave fittedinto our plansbetterthan
has been concerned,to the widestpossiblerangeof any others we have had; the selection of material
institutions.It has had the problem of preparing shows a definiteplan, intelligencein workingout
anddistributingthismaterialwithina budgetwhich thatplan, tastein selectingthe materialto illustrate
shouldbe approximatelytwo-thirdsself-sustaining, the scheme, and sufficientexplanatorymaterialto
while offeringit at fees that exhibitinginstitutions make the relationshipsof the variousobjectsclear
in varyingcategoriescouldaffordto pay. The prob- to anyone,with or withoutspecialbackground."
lem is a particularlycomplicatedone, since practi-
cally everyfactorin the equationis highlyvariable. Some EarlyMilestones
The needs of subscribinginstitutionshave changed In the earlydaysof the Museum'shistory,whenthe
throughoutthe years;new andunforeseendemands entirefield of modem art was virtuallypioneerter-
have arisen;the costs of transportation,materials, ritory in the United States, large museumsin the
salaries and insurancehave drasticallyincreased. principalurbancenterswelcomeda successionof
One constantfactor,however,has been the Depart- majorexhibitionswhich were contractedfor on a
ment's determinationthat its programshould re- participationbasis - that is, the initial costs of
flectthe samehighstandardsas the Museum'sother assemblyand circulationwere sharedwith the Mu-
activities.Althoughmany more agenciesnow cir- seum of ModernArt. Thus, in 1936, followingits
culateexhibitionsthandidso formerly,the Museum New York showing,the firstlargeexhibitionof the
has maintainedits leadershipin the field through work of Van Gogh to be held in this countrywas
thisinsistenceupon quality.The curatorof a north- circulated among nine museums in the United
westernuniversitygalleryonce wrote:"Herein the States and Canadaand was seen by almost a mil-
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The com prehensive exhibition MODERN AMERICAN PAINTING: MOVEMENTS AND COUNTERMOVEMENTS,seen at 19 institutions
during a 3-year tour from 1949-52, is here shown installed at the Lowe Gallery, University of Miami, Coral Gables, Florida
lion persons - over 142,000 while at the Museum, collectionof printsby GeorgesRouaultto be seen
and 744,290 while on tour. Picasso: Forty Years of here or abroad (1939-42); and Photography:
His Art, went on tour in 1940 and drew an attend- 1839-1937, the Museum'sfirstlargephotographic
ance of 67,661 in Chicago, 47,530 in St. Louis, exhibition, which served to impress upon the
22,938 in Cleveland, 21,300 in Cincinnati, a like Americanpublicphotography'srightto rankamong
number in Minneapolis and 12,734 in Pittsburgh. the arts.
In addition to the International Exhibition of Mod- By no means,however,were all the exhibitions
ern Architecture, which has already been men- duringthisinitialperiodso comprehensivein scope.
tioned, other "famous firsts" included American Mindful of the needs of smaller institutions,the
Folk Art, based on an exhibition held at the Mu- Departmentof CirculatingExhibitionsprepareda
seum in the winter of 1932-33; Cubism and Ab- wide varietyof showsfor theiruse - some includ-
stract Art, seen at the Museum in the spring of ing originalmaterial,othersmade up of reproduc-
1936 and thereafter at San Francisco, Cincinnati, tions. Among these were a series of one-picture
Minneapolis, Cleveland, Baltimore, Providence and shows.Duringthe 1934-35 season,Renoir'sMoulin
Grand Rapids; Six Modern Sculptors (Barlach, de la Galette from the John Hay WhitneyCollec-
Despiau, Epstein, Kolbe, Lachaise and Maillol), tion, Cezanne'sPortrait of Mme Cezanne from the
the first modern sculpture show to be circulated Adolph Lewisohn Collection, and the Gauguin
( 1936-38 ); Machine Art (1934-38), which brought Tahitian Idyl belongingto Mr.A. CongerGoodyear
to thousands of people for the first time the then were generouslylent by their owners and made
revolutionary concept that the design of everyday availablefor ten-day showings of each painting.
objects was of sufficient importance to make this a Unfortunately,it was possibleto fill only 16 of the
"museum-worthy" subject; the first comprehensive more than 130 requestsreceivedfrom institutions
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in 42 states. The response to this experiment, how-
ever, prompted the Museum to continue it with
works from its own collection, supplementing the
single painting or sculpture in every case by
panels with extensive photographic documentation.
Picasso's La Coiffure, his Seated Woman of 1926- ,..
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27, and two watercolors by Klee have been circu-
lated in this way; while Barlach's Singing Man was
also accompanied by examples of his graphic work.
The record for a one-picture exhibition, of
course, was set by Whistler's Portrait of the Artist's
Mother. Originally lent by the Louvre to the Mu-
seum's survey of American Painting and Sculpture
SCULPTURE BY PAINTERS (1949-51): The sculpture of a painter,
1862-1932, the painting subsequently made a solo like his sketches, may reveal his intentions and individual style
coast-to-coast tour of the country and was seen by
an estimated 2,000,000 persons in 11 cities. painters, sculptors and craftsmen of our own com-
munity."
New Talents, New Movements, New Techniques A particularly comprehensive survey was sent
In its traveling exhibitions, however, the Museum out on tour for three years, beginning with the
has always made a special effort to show artists who 1949-50 season, under the title Modern American
are still young or relatively unknown, as well as Painting: Movements and Countermovements.
masters with established reputations. Such painters Fifty-two of the best works from the Museum's
as Loren MacIver and Jacob Lawrence, sculptors collection of over 300 American paintings were
like David Smith and Theodore Roszak, print- selected to demonstrate the sequence of modem
makers like Stanley William Hayter, and photog- movements as they developed in this country from
raphers like Walker Evans and Harry M. Callahan before the Armory Show of 1913 down to the
were among the rising talents who, early in their present, together with the various countermove-
careers, were thus brought to attention throughout ments which opposed or modified modernism. A
the country. "Circulatingexhibitions of the Museum series called 20th Century Master Movements was
of Modern Art," wrote Alfred Frankenstein, art initiated in 1950-51 to present the outstanding
critic of the San Francisco Chronicle, "have made developments of this century. Cubism, Futurism
it possible for us to know, thoroughly and with the and German Expressionism have thus been sur-
certainty that comes from generous representation, veyed through selections of important paintings,
what is going on in contemporary painting and sculptures, collages, drawings and prints, primarily
sculpture, and the Museum has been equally gener- from the collections of the Museum of Modern Art,
ous in recognizing and disseminating the work of supplemented by loans from other public and pri-
vate collections. Symbolism in Painting from the
The exhibition 20TH CENTURY SCULPTURE AND CONSTRUCTIONS mid-19th century to the present time had pre-
(1942-43) laid emphasis upon new forms, materials anid techniques viously been shown in an exhibition which had
circulated in 1947-48.
European artists who have come to the fore since
the war were introduced through the United States
in the recent exhibition Europe - The New Gen-
eration, which includes such French painters as
AU_
Manessier, de Stael and Dubuffet, Italians like Pizzi-
nato, Afro, Vedova and Cremonini, and British
artists like MacBryde, Colquhoun and Pasmore.
Not only new talents, but new techniques, too,
receive attention: for example, Carvers- Modelers
- Welders (1950-53) included sci,lpture in metal
7
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weldingandplasticmoulding,as well as in the more Three design exhibitions: top, MODERN TEXTILE DESIGN (1945-
49); center, MODERN HANDMADE JEWELRY (1946-48); below,
traditional media. An exhibition entitled The WORLD OF ILLUSION I: ELEMENTS'OF STAGEDESIGN (1947-50)
Embellished Surface was devoted to recent experi- S.
..........
IncreasingEducationalEmphasis
In the early days, when knowledgeand acceptance
of modem art were relativelyrare in this country,
museumswere the principalsubscribersto the cir-
culatingexhibitions.By 1939, however,it had be-
come apparentthat the greatestdemandwas not
from largemuseumsbut from smallerinstitutions,
particularlyschools and colleges. As may be seen .......... ................
by the graphon page 29, in the firstfive yearsdur-
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a fifthby museums.
Therearemanyreasonsfor thischangingpattern
of distribution.For one thing, the largermuseums
outsideNew York now find it easier than it was a
quartercentury ago to arrangetheir own exhibi-
tions. The fact that so many cities throughoutthe
8
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United Statesare now willingto sponsorand sup- ?ik ............
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The panel exhibition How THE MODERN ARTIST WORKS (1947-49) utilized sketches and photographs to
supplement original paintings and to show how four contemporary artists plan and carry out their work
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offerednationallyto all types of educationalinsti- the Departmentof CirculatingExhibitionshas been
tutions- primarilyto schools, but also to mu- obligedin the past decadeto diminishits emphasis
seums, colleges, militaryestablishments,hospitals, upon this phase of its programand to concentrate
librariesand communityclubs. Two factors,how- upon servingthe broadestpossiblerangeof public
ever,led to the modificationof this program.In the and privateinstitutionsconcernedwith art educa-
firstplace, the demandincreasedat such a ratethat tion and enjoymentat an adultlevel.*
it couldnot possiblybe met withouteitherreducing
the qualityof the materialofferedor enlargingthe
staffto an extentfar beyondthe Museum'smeans. SpecialEducationalMaterials
In the secondplace, the risingcosts of packingand In an effortto continuesupplyingschoolsand other
of expresstransportationmeantthat many schools organizationswith needed visual aids, three types
could no longer afford to rent circulatingexhibi- of educationalmaterialwere developed: multiple
tions, no matter how low the fees at which they exhibitions,teachingportfoliosand slide talks.The
were offered.Therefore,althoughfully recognizing seriesof multipleexhibitionsconsistsof light-weight
the vital need that exists amongsecondaryschools, panels on which are mountedcolor reproductions,
photographs,drawingsor diagramsreproducedin
quantityfor rentalor sale, accompaniedby a run-
ning commentary.Firstofferedduringthe 1943-44
season, the subjectsincludedLook at YourNeigh-
borhood,giving practicalinformationon commu-
nity planninggaugedto the interestof the layman;
Creative Photography; Elements of Design; and
What Is Modern Painting?, which traces the impor-
tant stylistictrendsof the past 75 years.
A new visual aid, the teaching portfolio, was
developedsomewhatlater.Preparedby the Depart-
ment of CirculatingExhibitions with assistance
from the Museum'sEducationalProgramand out-
standing art educators,these portfolios were de-
signedfor classroomuse and offeredto educational
institutionsat a specialreduction.Each includesan
introductorytext and 40 gravureplates. Hailed as
Visial aids dei eloped by the Muiseum.7: above, three teachinig port-
fJolios for classroomil otse oni MODERN SCULPTURE, TEXTURE AND
"one of the best examplesof sound popularization
PATTERN and MODERN ART OLD AND NEW. Below, panels froitn three that has yet appeared,"these portfolioswon high
at thze graviure-process mlDtltiple exhibitions: WHAT IS MODERN
PAINTING?, CREATIVE PHOTOGRAPHY and EL EMENTS OF DESIGN praise for their quality and reasonableprice. The
titles in the series are Modern Sculpture and Tex-
*.
.... . .. .
. ... .... .j .. - e-*. tureand Pattern,each with introductorypamphlet
by the first Director of the Departmentof Circu-
lating Exhibitions, Elodie Courter Osborn; and
Modern Art Old and New -based on the Mu-
~~~~~~~~~~~~~~~~~~~~~~~~~.... ..... ...;,
seum's 20th-anniversaryexhibition, Timeless As-
.
, . ,.. ..
pects of Modern Art - with introductory pamphlet
.... ... .
by Rene d'Hirnoncourt.
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As a furtherserviceto teachersand lecturers,a
seriesof slidetalks,includingbothkodachromesand
j~~~ Si ~ ~ black-and-whiteslides, was inauguratedin 1944.
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*For the Museum's continuing activities in relation to
through the Committee on secondary education, largely
Art Education, see the report of its Department of Edu-
cation, "CreativeArt," in the Bulletin for Fall, 1951.
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- ~~~~A
Outstanding among wartime exhibitions, ROAD TO VICTORY (1943-44) appears here as shown in London
by the O.W.I. in
1943~~~~~~~~~~~~..
.... .. . .......
They embraced such subjects as What Is Modern themes or the role of artists in wartime. Increasing
Painting?, What Is Modern Sculpture?, Scenic Art requests were received from army camps, U.S.O.
in Modern Ballet, Painters of America: 1670-1945, chapters, hospitals, factories and housing centers,
and A Century of Photography. Responsibility for in addition to the museums, colleges, schools and
continuance of the sale and circulation of these sets other organizations previously served.
has now been transferredto the Museum's Library. Road to Victory - photographs of the nation
at war, selected by Edward Steichen and accom-
Depression and Wartime panied by a text by Carl Sandburg affirming faith
in the democratic ideal - was circulated through-
From time to time, topical projects in the public out the country in a larger and a smaller version.
interest have been furthered through circulating Three other copies were prepared for showing in
exhibitions. Thus in the 1939-40 season, Docu-
ments of America featured photographs prepared
Photographs, diagrams and text combine effectively to demonstrate
under the direction of the Farm Security Adminis- the basic priniciples of CAMOUFLAGE FOR CIVILIAN DEFENSE (1942-44)
tration. In the following year four traveling shows,
including The Face of America, were assembled
by selecting work produced during four years of the
W.P.A. Arts Program, supplemented by additions I ~ ~~ ~ ~ ~ ~ ~ ~~IId Bti~P mamaa
from the Museum's collections.
During the war years, the program of exhibitions
sent on tour, as of those held within the Museum,
was drastically modified. A balance was struck be-
tween exhibitions which helped morale by stressing
America's achievements in the arts and demonstrat-
ing that these activities could be continued even in
crisis, and those which specifically featured war
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Britain under the sponsorship of the Office of War In addition to the exhibitions circulated by the
Information, and in Colombia and Uruguay under Museum through its own facilities, a total of 56
the auspices of the Coordinator of Inter-American exhibits and 17 slide talks were sold during the war
Affairs. The mammoth exhibition A irways to Peace, years to various organizations for circulation in
with text by Wendell L. Willkie, was circulated on Alaska, Hawaii, Canada, Haiti, Brazil, the British
a participation basis and, following its New York Isles, Ireland, India, Egypt, Australia, New Zea-
showing, was seen in Washington, Pittsburgh, La land, Spain, Czechoslovakia, Yugoslavia, Italy,
Porte (Ind.), Toronto and Baltimore. Tunisian Greece and Belgium.
Triumph, made up of photographs of the North
African campaign taken by LIFE's photographer
Our Neighbors to the South
Eliot Elisofon, circulated under the Museum's aus-
pices, while the Ninth Service Command acquired Our "good neighbor" policy of cementing ties of
a duplicate copy for circulation to camps in its area. friendship with Latin America has been supported
Other exhibitions sent on tour to further an under- by many exhibitions in this country or abroad. One
standing of the war aims and achievements of the of the most popular and long-lived of these was
United States and its allies included Camouflage Brazil Builds. It was originally shown at the Mu-
for Civilian Defense; The Arts in Therapy; "Yank" seum of Modem Art in January-February, 1943,
Illustrates the War; Art from Fighting China; under the joint auspices of the Museum, the Ameri-
Posters of the United Nations; Chinese Children can Institute of Architects, and the Office of the
Picture the War and Soviet Children's Art. Coordinator of Inter-American Affairs. The fol-
The O.W.I. in 1944 sponsored and shipped lowing summer, it was sent to the Palacio de Bellas
abroad an exhibition entitled U. S. Housing in War Artes in Mexico and subsequently circulated for
and Peace, prepared by the Department of Circu- three years throughout the United States. A special
lating Exhibitions at the request of the Royal Insti- edition prepared for Brazil was first seen there at
tute of British Architects. Two other editions were the inauguration of the new Ministry of Health and
prepared by the O.W.I. for Australia and South Education in Rio in November, 1943. Still another
Africa. Also for the O.W.I., the Department assem- edition was prepared, at the request of the Brazilian
bled a comprehensive review of American archi- Embassy, for showing in London.
tecture, housing and city planning. This was sent Among the exhibitions assembled to promote
to Stockholm in June, 1944 to celebrate the twenty- better understanding of the United States was the
fifth anniversary of the Swedish American Society first comprehensive show of contemporary Ameri-
and the American Scandinavian Foundation; after can art ever seen in Latin America. This was sent
touring Sweden, the show traveled to Finland, Tur- out in 1941 by the Museum of Modem Art in col-
key, Denmark, South Africa and Switzerland. laboration with four other museums. A series of
60 photo panels on American government, indus-
try, life and culture was also prepared for the Inter-
BRAZIL BUILDS, circulated in Latin America and England as well as American Educational Foundation. Other exhibi-
in the U.S., is seen here at the Museunmof Fine Arts, Boston (1943)
tions were sent on tour throughout this country to
familiarize the public with the achievements of our
neighbors to the south. Among them were Modern
Mexican Paintings and The Popular Art of Mexico
(both adapted from the Museum's exhibition
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... Twenty Centuries of Mexican Art); Paintings from
Ten Latin American Republics, selected from the
.10 Museum's collection; Graphic Arts of Mexico and
Argentina; Cuban Painting Today; and the photo-
graphic exhibition, Faces and Places in Brazil.
United Hemisphere Posters, originally designed for
circulation in the United States, was sent also to
Havana, Cuba in 1943.
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iNli
The InternationalProgram
basis. It attracted a wide attendance,including
In additionto the exhibitionsmentionedabove,the 75,000 in Detroit and 37,809 in St. Louis.
Museumhas sent many other shows abroad.The In 1953, a grantfrom the RockefellerBrothers
first of these was Three Centuries of Art in the Fund made possible a five-yearproject,the Inter-
UnitedStates,shownat the Museedu Jeu de Paume nationalCirculatingExhibitionsProgram,with the
in Paris in 1938. A number of exhibitionswere purposeof stimulatingunderstandingand respect
assembledafterthe warfor circulationin Germany amongnationsthrougha mutualawarenessof their
and Austria by the Civil Affairs Division, and in creative accomplishments.Of the first 25 exhibi-
Japanby the ReorientationBranchof the Depart- tions preparedunderthis project,22, which repre-
mentof the Army. Otherexhibitionshave traveled sent variousaspects of modem Americanart, are
to Australia;to the Art Gallery of Toronto, the being circulatedoutside the United States, while
NationalGalleryof Canadaat Ottawa,McGillUni- three, devoted to the arts of other countries,are
versity, the University of Manitoba, and other circulatingin the U.S. Two of the majorexhibitions
Canadianinstitutions;and to Englandat the invi- of painting and sculpture - Twelve Modern Amer-
tation of the Arts Councilof GreatBritain.Occa- ican Painters and Sculptors, and the U. S. repre-
sionallytheMuseumhas sentexhibitionsfromother sentation at the II Bienal of the Museu de Arte
countrieson tourthroughoutthe UnitedStates,like Modernain Sao Paulo- have-alreadybeen men-
the survey of Australianart which was circulated tioned on page 3. The third, Seven American
from 1941 to 1944 at the request and under the Watercolorists,was assembled in 1953 for the
auspicesof the CarnegieCorporation.A compre- SecondInternationalArt Exhibitionorganizedun-
hensive exhibition of 200 works by Paul Klee, der the JapaneseMinistryof Foreign Affairs and
loaned by the Klee Foundationof Berne, Switzer- the MainichiNewspapers.After its tour in Tokyo
land, was broughtto this countryin 1949-50 and and other Japanesecities, it traveledto Honolulu.
circulatedamongsevenmuseumson a participation Architecturalexhibitionsinclude The Skyscraper,
13
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.. ......... ... .. ...
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Visitors at the MEMORIAL EXHIBITION OF THE AMERICAN DESIGN FOR HOME AND DECORATIVE USE,
WORKS OF YASuo KUNIYOSHI, Tokyo, Spring 1954 seen at Oslo during its tour of Scandinavia, 1953-54
U.S.A., assembled for circulation abroad, and A revised selection is being sent this summer to a
Built in U.S.A.: Post-War Architecture, which, in similar exhibition in Austria.
multiple editions, is to be seen in the United States Announcement has recently been made of the
and Canada as well as in Europe and Latin America. Museum's purchase, under the International Exhi-
A group of six shows prepared by the Museum's bitions Program, of the United States Pavilion at
Curator of Prints to illustrate the dramatic revival the Venice Biennale. The American building is the
of printmaking in this country has been purchased only one at the Biennale not under control of its
for overseas circulation. One of these, which offers nation's government, and the Museum's purchase
a survey of The American Woodcut Today through was made to insure continuous U.S. representation
40 examples by 30 leading artists working in this at this important European exhibition. This sum-
medium, demonstrates at the same time three mer's show, arranged by the Museum, is comprised
characteristics of American printmaking in general: of paintings by Ben Shahn and Willem de Kooning,
use of color and textures, emphasis on large-scale and sculpture by Gaston Lachaise, Ibram Lassaw
prints, and experimentation followed by technical and David Smith. The pavilion will be lent from
innovation. Contemporary American Photography., time to time to other institutions which will be re-
a cross-section of the American contribution in this sponsible for selecting and arranging future shows
medium, has been touring in the Far East. of American art at the Biennale.
Among the exhibitions organized thus far under
this Program for the purpose of presenting the art The Problem of Cost
of other countries throughout the United States are Let us now consider some of the factors, aside from
The Modern Movement in Italy: Architecture and general policy, that affect the planning of the Mu-
Design and The A rchitecture of Japan. seum's program of circulating exhibitions. To begin
In addition, the International Circulating Exhi- with, there is the question of cost. The average cost
bitions Program has organized exhibitions at the of the exhibitions exceeds the amount received in
request of three outside agencies. For the Institute fees, for these are set at levels which are intended
of Contemporary Arts in London, the Museum of to enable educational institutions to subscribe,
Modern Art served as the national agency for an rather than to make the program self-supporting.
international sculpture competition on the theme In general, fees cover packing (the greatest ex-
"The Unknown Political Prisoner," and sent the pense), insurance, and mounts and frames; while
11 U.S. winners to London for the international the subsidy largely covers the staff required to plan,
judging in March, 1953. At the request of the U.S. assemble and distribute the shows. Exhibitions in-
Information Agency, American Design for Home cluding loaned original works of painting or sculp-
and Decorative Use was assembled for showing in ture are as a rule the most expensive. This is in
Scandinavia and other countries in Europe; and 43 part owing to their higher insurance rate, but prin-
posters by 23 American designers were selected to cipally because they can rarely be circulated for an
constitute the United States section of the Interna- extended period, since the owners are naturally
tional Poster Exhibition held in Germany in 1953. reluctant to lend works of art for longer than a year.
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. .;w
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15
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Distribution of Circulating
0 55
2/411
212
\ ~~~~~~~291/173
*
Key:
* Location of institlltiotas served
state
42/ Nuimber of ijvtitutionS served in
state
/278 Number of exhibition shlowings in
Swannmary: -~~~~~~~
!01?Ri ~ ~~ ~
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Exhibitions in United States and Canada 1931-1954
812 16/50
46/466
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Artist's Family, The City, The Classical Motif, the use of uniform mounts throughout, and cost of
Clowns or Musical Themes, all in circulation in transportationrequire that enlargements be smaller
1953-54. These have the advantage of providing than those used for the New York showing. The
cross-sections of various styles and suggesting illu- physical preparation of circulating exhibitions in-
minating comparisons, while allowing maximum cludes providing detailed scaled panel layouts,
flexibility in choice of pertinent material. Moreover, overlays for photographic and photostatic copy,
now that modern art has become more familiar, working drawings for special racks and display
contemporary forms of expression are more readily cases, and special installation diagrams where nec-
acceptable than in the early days of the Museum's essary. Further steps in making an exhibition ready
history. Emphasis can thus be shifted to another for travel include mounting, matting, framing, slip-
type of presentation which takes for granted a de- casing and boxing; this work is performed with
gree of sympathetic understanding in the viewer's expert and painstaking care in the Museum's shops,
attitude. Such an exhibition as Calligraphic and under the general supervision of the Department
Geometric, for example, is designed to let the spec- of Circulating Exhibitions.
tator explore two particularlinear tendencies within The special labels accompanying each show must
recent American painting; while Three Modern be prepared with the needs of different types of
Styles served to orient him toward the contrasting audiences constantly in mind. The text must some-
idioms of the curvilinear Art Nouveau of the turn times be comprehensive enough to include informa-
of the century, the angular cubist-geometric and the tion similar to that which would be presented in
currently popular free form. a gallery talk or found in a catalog. For each exhi-
In the past few years, there has also been an bition there is an elaborate check list documenting
increase in the number of exhibitions composed of every object shown. The Museum also prepares re-
prints. Thanks to the incomparable resources of the leases and photographs to be used as a basis for
Museum's Abby Aldrich Rockefeller Print Room, local publicity.
further supplemented by loans, exhibitions can be
assembled which present a wide variety of subjects Safeguarding the Objects
and styles through original material of high quality. In order to facilitate its handling by subscribers,
Light in weight, prints are also inexpensive to ship. each exhibition is provided with detailed instruc-
Their relatively low price also makes them inexpen- tions for unpacking, installing, repacking and ship-
sive to insure and in addition provides viewers with ping. Every precaution is taken to safeguard the
an incentive to purchase originals. works of art for whose protection the Museum is
When in 1947 Recent Lithographs by Picasso responsible. The procedures which the Department
was shown at the J. B. Speed Art Gallery in Louis- of Circulating Exhibitions has gradually evolved
ville, Justus Bier, art critic of the Courier-Journal, since it was founded have come to be accepted as
commented that this was the first Picasso exhibition models. To begin with, each object secured as a loan
to be seen in that city, and that "to see 46 prints by is carefully examined on arrivalat the Museum, and
Picasso together is certainly an event in Louisville's condition and insurance reports are prepared. In
life." This season an even more comprehensive addition, each subscribing institution is required to
show of 77 prints, A Half Century of Picasso, is return a condition report promptly upon receipt
touring a number of other centers, including Colum- of the exhibition, noting in detail damage to any
bia, Georgia; Ann Arbor and Grand Rapids, Michi- item or to packing cases. This allows the Museum
gan; and Nashville, Tennessee. an immediate opportunity to recommend measures
Exhibitions made up of photographic material to be taken or to request that the damaged item be
or reproductions entail the same careful research sent back at once for repair. Every exhibition is
and preparation as those comprising original works returned to the Museum during the summer for
of art. A major architectural exhibition like the inspection, checking, and such repairs and refur-
current Built in U.S.A. may need complete rede- bishing as may be required before being sent out for
signing to adapt it from its original presentation in another season.
the Museum. Facility of packing and ease of in- The packing boxes are designed to combine
stallation for a wide variety of exhibitors may dictate maximum protection against the hazards of careless
18
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=
After its
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, ; :.' .,
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handling by public carriers with ease of packing circulating exhibitions, it would be quite false to
and unpacking. Their interiors of course vary ac- conceive of the exhibitors' role as a passive one.
cording to the works of art they contain. The in- Letters and press clippings testify to the enterprise
structions for handling each exhibit are made as and ingenuity with which the subscribing institu-
simple, yet as explicit and foolproof, as possible. tions strive to present the shows most advanta-
Thus, an admonition accompanying a display with geously to their communities. This is done through
plexiglass mounts advises: "If plexiglass is dirty, issuing announcements; inviting special guests to
clean with chamois provided. Any other material lecture; scheduling visits from schools or other
sets up static electricity which attracts more dust interested groups; arrangingdiscussion groups, film
and lint." Clean pairs of workmen's gloves are en- showings, or other related events; using the pub-
closed in the boxes so that mounts may retain their licity material provided by the Museum as a basis
pristine freshness. Many persons or institutions un- for articles and interviews in the local press, or for
trained in museum methods have received through announcements and talks carried by local radio
such procedures a valuable object lesson in the stations; and displaying concurrent exhibitions that
respect due to works of art. The painstaking atten- complement the theme of the circulating show
tion to detail also reaps a multiple reward: lenders through specific community appeal - frequently
entrust their works of art with confidence in the through the inclusion of local artists. In a small
measures taken by the Museum to safeguard them; community, concentrated activity of this sort, fo-
insurance companies grant advantageous rates be- cussed on a traveling exhibition during a two- or
cause of the Museum's excellent record; and ex- three-week showing, may result in greater impact
hibitors voice their gratitude for "the beautiful way than most major exhibitions would achieve in a
in which your shows are packed and handled." far longer period when shown in a metropolitan
center like New York.
The Enterprising Exhibitor The Department of Circulating Exhibitions is
Although the Museum tries in every way to make constantly re-evaluating its program and modifying
it easy for subscribers to install and publicize its it in accordance with changing requirements within
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the Museum itself, or on the part of its subscribing exhibitions are made possible only because one
institutions. The judgment of its own staff is sup- third of their cost is contributed by the members
plemented by a flow of correspondence from the and Trustees. It is an act of faith on the part of
exhibitors. Favorable and unfavorable, the com- each individual, gallery or other museum that lends
ments may touch on every facet of the program as a work of art for inclusion in one of these shows;
a whole or deal with aspects of a particular exhibi- and the exhibitions are made possible only because
tion: the choice of material, the color of the mounts, there are many such lenders who share the Mu-
the content, typography and placing of the labels. seum's conviction of the program's value. It is an
Sometimes the Department has also sent out ques- act of faith on the part of each exhibitor who, on
tionnaires to determine with greater certainty the the basis of one or two brief paragraphsof descrip-
needs of the institutions it serves. tion in a catalog, commits some of the limited funds
of his institution to subscribe to an exhibition, sight
The Vision and the Goal unseen; and the continuance of the program is pos-
Malraux' now famous phrase, "museum without sible only because, in the course of years, sufficient
walls," of course refers to the extension of modern institutions have found their faith in the quality of
man's knowledge of the art of all the world and all the Museum's exhibitions justified. "Our confidence
the ages through the medium of photographic re- that an exhibition circulated by the Museum of
production. Yet in another sense the Museum of Modem Art would be interesting, well prepared,
Modern Art, too, might be considered a "museum and well worth the rental fee has never been ill
without walls." For while through text and illustra- advised," one such subscriber wrote - a gratifying
tions in its publications it offers thousands of people sentiment that has been echoed repeatedly.
in distant places the means to understand and enjoy Underlying this faith in the program of circulat-
art, to many other thousands in remote and scat- ing exhibitions as such is the deep conviction shared
tered communities it brings original works of art by the Museum, the lenders, and the exhibitors:
through its loans and, more especially, through its that, as Alfred H. Barr, Jr., wrote in What is Mod-
circulating exhibitions. ern Painting?, a work of art is "a visible symbol of
The idea that a museum should serve not simply the human spirit in its search for truth, freedom
as a repository, but as a center for disseminating and perfection." Thus believing, institutions in
actual works of art, as well as knowledge about such small, unsophisticated communities have frequently
works, is comparatively recent. It is also, in the subscribed to exhibitions of contemporary art ex-
deepest sense, a democratic concept. In a demo- pressions that were still relatively unfamiliar, mis-
cratic society, the corollary of a belief in art as a understood or controversial among wide segments
vital force is the conviction that this force should of the public even in metropolitan centers. What
exert itself among as great a number of the popula- has given them the courage to do so? A letter writ-
tion as possible, wherever they may be. This con- ten to the Department of Circulating Exhibitions
viction motivates the intensity and scope of the from Norwich University in Northfield, Vermont,
Museum's extramural activities. While the figures on the occasion of a showing there in 1951 of the
for the total attendance at circulating exhibitions fourteen lithographs and six bronzes in the exhibi-
are unfortunately incomplete, they run into mil- tion Picasso's "Antipolis," may contain a clue. "The
lions. Significantly, of the current total membership effect on viewers . . . was somewhat that of a base-
of over 17,000, about 8,000, or almost half, are in ball bat applied with dexterity and force right be-
the non-resident category - that is, located out- tween the eyes. Because Picasso did provoke com-
side the boundaries of New York City. At least in ment and stimulated discussion . .. we consider the
part, this can surely be regarded as a reflection of exhibition was worthwhile. An exhibit of this kind
the interest evoked by the traveling shows. will be remembered much longer than one of a
It requires many acts of faith working in con- conservative nature." Even more succinct was a
junction to carry out the program of circulating comment on the exhibition American Photographs
exhibitions. It is an act of faith on the part of the by Walker Evans, shown in Los Angeles in 1939:
Trustees to establish a policy that allows the pro- "The important thing was that it created contro-
gram to continue in spite of a sizable deficit; for the versy, and controversy stimulates thought."
20
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Exhibitions circulated from
1931 through June 30, 19S4
Number of Number of
Exhibitions Bookings
PAINTINGANDSCULPTURE 141 1596
DRAWINGS ANDPRINTS 59 814
ARCHITECTURE 58 1280
DESIGN 53 675
PHOTOGRAPHY 50 607 Klee: The Creator, 1934 (Paintings, Drawings and
DANCEANDTHEATRE 15 167 Prints ... Lent by the Klee Foundation, 1949-50)
FILM 4 59
WARTIME EXHIBITIONS 34 520
INDIGENOUSANDFOLKART 7 71
COLORANDPHOTOGRAPHICREPRODUCTIONS40 1658
21
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Mystery in Paint 1944-46 12
Romantic Painting in America 1944-45 8 M
Seven American Painters 1944-45 5
Twelve Contemporary Painters 1944-45 12
Understanding the Child Through Art 1944-45 29 M
Variety in Abstraction 1944-46 11.
Watercolors and Drawings by Six Cuban
Painters 1944-46 16
Creative Art by American Children (2 copies) 1945-47 7 M
Development in Children's Art 1945-48 27 M
European Artists in the United States 1945-46 7
Faces and Figures 1945-47 15
How Children Paint 1945-48 29
Lyonel Feininger 1945-46 10 M
Marsden Hartley 1945-46 8 M
Objects as Subjects 1945-47 15
Paintings from Latin America:
Museum's Collection 1945-46 6 M
Landscapes: Real and Imaginary 1946-48 8
v-~
PAINTING AND SCULPTURE (continued)
.. . . . . .. :: _ ....' .
1. De Chirico: Nostalgia of the Infinite, 1911,
Museum of Modern Art (Fantastic Art, Dada
and Surrealism, 1937; Symnbolismin Painting,
1948). 2. Barlach: Singing Man, 1928, Mu-
seum of Modern Art (circulated as A Single
Sculpture, 1940-42; Musical Themes, 1952-54).
3. Hopper: Early Sunday Morning, 1930,
Whitney Museum of AnmericanArt (The City,
1951-52; Twelve Modern American Painters
and Sculptors, 1953-54)
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Lipchitz' "Prometheus" 1946-48 11
New Watercolors and Gouaches 1946-48 14
Six Interpretations in Bronze 1946-48 13
Florine Stettheimer 1947 2 M
Fourteen Americans 1947 5 M
How the Modern Artist Works 1947-49 12
The Painter Looks at People 1947-49 12
Symbolism in Painting 1947-48 14
Ben Shahn 1948 8 M
Modern Church Art 1948-50 13
New American Painters 1948-50 14
Open and Closed Form: Modern Sculpture 1948-50 13
Paintings by French Children 1948-50 20 M
By the Sea 1949-51 15
Modern American Painting: Movements and
Countermovements 1949-52 19
Paintings, Drawings and Prints by Paul Klee
Lent by the Klee Foundation 1949-50 6 M
Paul Klee: Paintings and Prints 1949-50 8
23
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Fine Prints in Color 1944-46 22
Modern Drawings 1944-45 8 M
New Directions in Gravure 1944-46 12 M
20th Century Drawings 1944-46 15
Woodblock Prints in Color 1944-47 23
Prints by Paul Klee 1945-47 14
X(CCS~~~~~~~C Thirty-five Serigraphs
An Artist's Zoo
1945-47
1946-49
11
23
Expressionism in Prints 1946-48 11
Illustrations for Children's Books 1946-49 52
New Pictures for Children 1946-48 31
On Being a Cartoonist 1946-49 32 M
Rouault: The Great Printmaker 1946-48 13
American Prints 1947-48 7
Forty Drawings from the Collection of the
Museum of Modern Art 1947-49 11 M
One Hundred Drawings from the Collection of
the Museum of Modern Art 1947-48 5 M
Recent Lithographs by Picasso 1947-48 6 M
Portraits in Prints 1948-50 10
Recent Prints by European Painters 1948-51 13
Fifty-three Prints Selected by Hayter 1949 1
Matisse's "Jazz" 1949-51 10
Paul Klee: Drawings and Prints 1949-51 8 M
Picasso's "Antipolis" 1949-51 9
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ARCHITECTURE
International Exhibition of Modern
Architecture 1932-33 14 M
Photographic Exhibition of Modern
Architecture 1932-38 20
Early Modern Architecture: Chicago 1870-1910 1933-36 6 M
Photographs of 19th-Century American Houses
by Walker Evans 1934-36; 1940 14 M
Modern Architecture in California 1935-39 20 M
Recent Work by Le Corbusier 1935-38 14 M
The Architecture of Henry Hobson Richardson 1936-40 14 M
Modern Architecture in England 1937-39 10 M
Modern Exposition Architecture 1937 1 M
Alvar Aalto: Architecture and Furniture 1938-41 15 M
Modern American Houses 1938-41 24
A New House by Frank Lloyd Wright 1938 40 18 M
What is Modern Architecture? (4 copies) 1938-41 61
Bauhaus: 1919-1928 1939-40 4 M 1. Nervi & Bartoli: Ceiling of Exposition Hall, Turin,
The Bauhaus: How It Worked 1939-40 10 1947 (The Modern Movement in Italy, 1954). 2. Frank
Competition Drawings for an Art Center in Lloyd Wright: House for Sol Friedman, Pleasantville,
Wheaton College 193941 17 M N.Y., 1949 (New American Houses, 1952-54; Built in
U.S.A.: Post-War Architecture, 1953-54). 3. Sullivan:
Competition for a Festival Theatre in Carson Pinie Scott Department Store, Chicago, 1899
Williamsburg, Virginia 1939-41 10 M (Masterpieces of Louis Sullivan, 1948-54; The Skyscraper,
Competition for a New Smithsonian Gallery of 1953-54)
Art, Washington, D. C. 1939-40 4 M
The Evolution of the Skyscraper 1939-42 10
Houses and Housing 1939-40 7 M Modern American Houses (2 copies) 1946-49 50
Three Centuries of American Architecture 1939-41 12 M Robert Maillart: Engineer 1946-52 29
Housing: Recent Developments in Europe Modern Buildings for Schools and Colleges
and America 1940-44 24 (2 copies) 1947-52 35
Stockholm Builds 1940-45 24 M Two Cities: Planning in North and
The Wooden House in America 1940 44 23 M South America 1947-49 7 M
American Architecture (3 versions) 1941-44 18 Bridges 1948-53 23
Bauhaus: Preliminary Course 194144 12 Marcel Breuer: Architect 1948-52 22
Regional Building in America 1941-44 17 Masterpieces of Louis Sullivan 1948-54 25 M
TVA Architecture and Design 1941-42 6 M Mies van der Rohe 1948-51 13 M
Eric Mendelsohn 1942 2 M Photographic Enlargements of Architecture 1948 1
Modern Architecture for the Modern School 1942-46 28 M Three Postwar Houses 1948-51 17
Brazil Builds (2 versions) 1943-46 33 M Painting and Sculpture in Architecture 1949-53 21
Planning the Modern House (2 copies) 1943-47 49 Postwar Building 1949-53 14
A Survey of Housing in Europe and America 1943-45 10 Architecture of the City Plan 1950-54 28
What is Modern Architecture? (revised) 194345 26 New American Houses 1952-54 14
Built in U.S.A. 1944-48 15 M The Architecture of Japan 1953-54 5
Look at Your Neighborhood (20 copies) 1944-49 249 Built in U.S.A.: Post-War Architecture
A New American Architecture 1944-48 27 (2 copies) 1953-54 7 M
Integrated Building 1945-48 19 M The Modern Movement in Italy: Architecture
Houses by Frank Lloyd Wright 1946-49 20 and Design 1953-54 5
If You Want to Build a House (3 copies) 1946-49 51 M The Skyscraper 1953-54 6
Pantn adSclpue nArhtetue19953 2
uilding
Postwar 949-531
2
* - 11
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DESIGN EXHIBITIONS
Machine Art 1934-38 19 M
Bookbindings by Ignatz Wiemeler 1935 3 M
European Commercial Printing of Today 1935-36 8 M
Posters by A. Mouron Cassandre 1936-38 19 M
Posters by E. McKnight Kauffer 1937-39 21 M
Spanish and United States Government Posters 1938-39 3 M
Ten Posters by Cassandre and Kauffer 1938-40 18
Useful Objects Under $5.00 1938-39 7 M
A History of the Modern Poster 1940-45 29 M
Useful Objects Under $10.00 1940-41 10 M
Furniture Design Today 1941-44 24
Machine Art 1941-44 6
Manufacturing Modern Furniture 1941-42 7
Modern Interiors 1941-43 10
Modern Lettering and Arrangement in Poster
Design 1941-44 10
The Modern Poster 1941-44 8
Organic Design in Home Furnishings 1941-42 3 M
Rugs by Modern Artists 1941 3
The Shapes of Things 1941-44 21
Useful Objects of American Design Under $10.00 1941-42 5 M
Useful Objects Under $5.00 1941-43 9
Modern Pictorial Posters 1942 3
Rugs by American Artists 1942-43 7 M 1. Steel Sauce Pans, Lalance & Grosjean Mfg. Co. (Ma-
What is Good Design in Useful Objects? 1942-45 17 chine Art, 1934-38). 2. Marcello Nizzoli: Olivetti Lexikoni
Modern Design in Furniture (2 copies) 1943-46 26 80 Typewriter, 1947 (Olivetti: Design in Industry, 1953-
54; New Design Trends, 1953-54). 3. Matter: "One of
Them Had Polio," prize-winning poster, 1950 (Polio
Posters, 1950)
26
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v -.~-
.e&t \
PHOTOGRAPHY
~~\ ;
A Brief Survey of Photography 1839-1937 1937-38 12
Photography: 1839-1937 1937-38 10 M
Abstract Photography 1939-41 16 A.q
American Photographs by Walker Evans 1939-40 10 M
Documents of America 1939-40 12
Functions of the Camera 1939-44 27
Seven American Photographers 1939-41 17 M
The California Group 1940-41 3
David Octavius Hill 1940-42 1
Photographs by Weston 1940 1
How to Make a Photogram 1941-43 11 M
Civil War and Frontier Photography 1942-43 4 M
Gjon Mili: The Dance in Movement 1942-43 6 M
Action Photography 1943-45 12 M
City Children at Play 1943-44 1
Faces and Places in Brazil 1943-44 7 M
Masters of Photography 1943-46 30
The American Snapshot 1944 46 13 M
A Century of Photography (2 copies) 1944-48 58
One Hundred Years of Portrait Photography 1944-45 9
Leading Photographers: Ansel Adams 1946-54 29
Leading Photographers: Cedric Wright 1946-49 8 Leading Phiotographers: Eliot Porter 1946-50 10
Leading Photographers: Eugene Atget 1946-54 28
Leading Photographers: Matthew B. Brady 1946-54 22
All photographs reproduced included in "Fifty Great Leading Photographers: Walker Evans 1946-54 22
Photographs," 1948-54, as well as in exhibitions indicated. New Photographers 1946-48 13 M
1. Cartier-Bresson: Children in Seville, Spain, 1934 Paul Strand: Photographs 1915-45 1946-47 7 M
(Henri Cartier-Bresson, 1947-49). 2. Sheeler: Ford Plant, The Photographs of Edward Weston 1946-47 9 M
Detroit, 1927 (A Century of Photography, 1944-48).
3. Weston: Tide Pool, Point Lobos, 1945 (The Photo- Henri Cartier-Bresson 1947-49 12 M
graphs of Edward Weston, 1946-47). 4. Lange: Winter Fifty Great Photographs 1948-54 29 M
of 1933, Bread Line, San Francisco (A Century of Pho- In and Out of Focus 1948-49 9 M
tography, 1944-48) Leading Photographers: Edward Weston 1948-54 29
Leading Photographers: Man Ray 1948-54 18
Music and Musicians: Work by Six
Photographers 1948-49 5 M
Three Young Photographers 1948 1 M
The Exact Instant 1949-51 10 M
Leading Photographers: Bill Brandt 1949-54 10
Leading Photographers: Henri Cartier-Bresson 1949-53 13
Leading Photographers: Irving Penn 1949-54 14
Leading Photographers: Lisette Model 1949-54 3
Faces of Korea 1951 5 M
Leading Photographers: Berenice Abbott 1951-54 6
Leading Photographers: Harry Callahan 1951-54 10
Five French Photographers 1952-54 12 M
Leading Photographers: Alfred Stieglitz 1952-54 8
Always the Young Strangers 1953 1 M
Diogenes with a Camera 1953 1 M
Postwar European Photography 1954 2 M
4 I Twenty Brady Photographs 1954 1
27
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All use subject to JSTOR Terms and Conditions
DANCE AND THEATRE Chinese Children Picture the War 1944-46 19 M
Marines Under Fire 1944 7 M
International Exhibition of Theatre Art 1934-35 10 M War Posters 1944-45 8
The Ballet: History, Art and Practice 1940-42 13 M The Lesson of War Housing (Toward Better
The American Dance 1941-42 6 M Housing) 1945-48 16 M
Anna Pavlova 1941 2 M Power in the Pacific (2 editions) 1945-46 19 M
Designing a Stage Setting 1941-44 9 Soviet Children's Art 1945-47 19 M
The Modern Theatre: Stage Designs 1941-44 4
Original Costume Design for the Modern
Theatre 1941-44 9
Painters as Ballet Designers 1941-42 3
Modern Stage Design 1944 2
From Sketch to Stage 1945-47 22
Costume Carnival: Modern Stage Costumes
INDIGENOUS AND FOLK ART
and Their Sources 1946-48 18 M
Dance in America 1946-49 14 1933-34 6 M
American Folk Art
World of Illusion I: Elements of Stage Design 1947-50 22 M New Horizons in American Art 1937-38 8 M
Robert Edmond Jones 1948-50 12 Indian Art of the United States 1941-42 7 M
World of Illusion II: Movement and Gesture 1948-53 21 The Popular Art of Mexico 1941-42 9 M
Latin-American Colonial Art 1942-44 19
Latin-American Pre-Columbian Art 1942-44 21
Arts of the South Seas 1946 1 M
FILM
28
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TYPES QF EXHIBITING INSTITUTIONS, BY YEAR, 1931-1954
N^ulnber AA
- TYPES OF INSTITUTIONS
100
76
60
50 f
30
1931 =_
1932
1933
1934
1935
1936
1937
1938
1939
1940)-
1941
1942 m
1943....
K ey: 1944 I -_ _ _ _ _ _ _ _ _ _ _ _
Number 0 50 100 150 200 250 300 350 400 450 500 550 600
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Ancestral Sources of Modern Painting 1946-47
The Evolution of the Skyscraper 1946
This Is the U.S.A. (Latin American version) 1946 1
Advertising Art in the United States 1947
Indian Art of the U.S.A. 1947 1
Two Cities: Planning in North and South America 1947
American Painting Before 1900 1949
Built in U.S.A. 1949
A Century of Photography 1949
19th Century Leaders of Modern Painting 1949
On Being a Cartoonist 1949
Picasso, Matisse, Klee, Rouault 1949
Toward Better Housing 1949
Dance in America 1950
In and Out of Focus 1950
ExlhibitionsCirculated Abroad
Key:
i'p
I Exhibitions prepared specifically for circulation outside the United
States and Canada
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All use subject to JSTOR Terms and Conditions