Collecting as Modernist Practice by Jeremy Braddock

By Jeremy Braddock

In this hugely unique research, Jeremy Braddock makes a speciality of collective sorts of modernist expression―the artwork assortment, the anthology, and the archive―and their significance within the improvement of institutional and creative tradition within the United States.

Using large archival examine, Braddock's examine synthetically examines the neglected practices of significant American paintings creditors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He unearths the way in which collections have been devised as either types for modernism's destiny institutionalization and culturally effective gadgets and aesthetic varieties in themselves. instead of anchoring his examine within the typical figures of the person poet, artist, and paintings, Braddock supplies us a wholly new account of the way modernism used to be made, one based at the determine of the collector and the perform of collecting.

Collecting as Modernist Practice demonstrates that modernism's cultural identification was once secured no longer rather a lot throughout the choice of a canon of important works as via the improvement of latest practices that formed the social that means of artwork. Braddock has us revisit the contested terrain of modernist tradition ahead of the dominance of associations akin to the Museum of recent artwork and the college curriculum in order that we would contemplate modernisms which could were. delivering the main systematic assessment so far of the Barnes starting place, an highbrow family tree and research of The New Negro anthology, and reports of quite a lot of hitherto overlooked anthologies and records, Braddock convincingly exhibits how inventive and literary collections helped outline the modernist circulation within the United States.

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It comprised one hundred poems by American poets, ordered alphabetically by name and chosen from, Earle claimed, ten thousand submissions. One thousand dollars in prize money was divided among the authors of the three best poems, as chosen by a jury composed of Earle, Edward J. Wheeler, and William Stanley Braithwaite. Published at the end of 1912, the same year as the futurist and Georgian collections, Earle’s Lyric Year was promoted as an innovative, forward-looking text. Its publisher, Mitchell Kennerley—who would soon publish D.

What the Survey of Modernist Poetry had attempted to preserve under the mantle of the “plain reader’s rights” (RG 5–16) could in this context be saliently described as the individual poet’s—or, better, the individual poem’s—rights, rights that should not be subjected to any prior determination by a private-turnedpublic anthologist. Yet such gatekeeping also tacitly confirmed that the true legacy of the imagist and Georgian experiments was to have made available a set of social Collections Mediation Modernism 23 and institutional possibilities for literary collections that hewed paradoxically closely both to the models of the anthology “specializing in publics” (RG 167) and to the subjectively determined “private anthology”—collections that, in other words, served a particular set of social and aesthetic agendas while at the same time bearing the subjective mark of the anthologist.

Indeed, the anthology could reasonably be claimed as the preeminent black literary form of the twenties, enacting as it did a performance of collectivity and interpellation, political demand and representation, and also, in some cases, canon formation. ’ ”82 And in this, such texts must be seen as a necessary extension of the field of modernist-interventionist anthologies. 83 The most influential of these collections was Alain Locke’s New Negro anthology of 1925. Riding and Graves notably fail to mention The New Negro— or any other black anthology—by name.

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