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This paper intends to examine the course of modem art in America during the first two decades of the twentieth century by focusing on the activities of the photographer, gallery director and impresario, Alfred Stieglitz (1864-1946). Widely considered as the ‘the Godfather of American Modernism,’ Stieglitz is often described as a monolithic unchanging personage in the early modem period and to merge his later life activities seamlessly with those before the war. But that description oversimplifies dramatic changes, and the strategic activities of Stieglitz. Stieglitz’s career, which spans over as long as 50 years is not only interesting in terms of tracing the notion of American Modernism developed under Stieglitz’s leadership, but is also useful in terms of understanding the climate of the American art world in the early half of the twentieth century. The paper will focus particularly on the changes that took place in the American art world after the Amory Show, and how Stieglitz appropriated his goals, languages, and strategies accordingly.
The first three chapters of the paper deal with the political process which enabled Stieglitz to develop the rhetoric of American Art. Chapter 3 in particular discusses the significance of the Armory Show. This show, although widely regarded as the symbolic beginning of modernism in American art, was an important incident revealing the tension between European Modernism and American nationalism. Such tension is witnessed by Stieglitz as he was forced to close the ‘291’ gallery in 1917 and even temporarily retire from the American art world due to his previous European leanings. The experience forced Stieglitz to develop a new set of rhetoric related to an art form emphasizing a distinctively American character.
The latter two chapters deal with the strategies Stieglitz incorporated upon his return back to the art world in 1921. His closely-knit second group appropriated the word ‘American’ and used it to describe their work. By self-consciously incorporating subject matters widely accepted as American (such as American landscapes), and explaining their work with the notion of American individualism, they would avoid criticism of being imitators of European art. However, a closer look reveals that Stieglitz’s rhetoric was a very problematic one allowing artists to work in both ways between the dichotomy of nationalism and European formalist modernism. The paper also intends to bring in a broader context by discussing Stieglitz’s diplomatic relationship with the major art movements at the time, New York Dada, Precisionism, Regionalism, and Social Realism. By maintaining pleasant distance, but also borrowing useful codings from each group to represent his own, Stieglitz was a master alchemist to survive in the highly contested arena of American Modernism.
The first three chapters of the paper deal with the political process which enabled Stieglitz to develop the rhetoric of American Art. Chapter 3 in particular discusses the significance of the Armory Show. This show, although widely regarded as the symbolic beginning of modernism in American art, was an important incident revealing the tension between European Modernism and American nationalism. Such tension is witnessed by Stieglitz as he was forced to close the ‘291’ gallery in 1917 and even temporarily retire from the American art world due to his previous European leanings. The experience forced Stieglitz to develop a new set of rhetoric related to an art form emphasizing a distinctively American character.
The latter two chapters deal with the strategies Stieglitz incorporated upon his return back to the art world in 1921. His closely-knit second group appropriated the word ‘American’ and used it to describe their work. By self-consciously incorporating subject matters widely accepted as American (such as American landscapes), and explaining their work with the notion of American individualism, they would avoid criticism of being imitators of European art. However, a closer look reveals that Stieglitz’s rhetoric was a very problematic one allowing artists to work in both ways between the dichotomy of nationalism and European formalist modernism. The paper also intends to bring in a broader context by discussing Stieglitz’s diplomatic relationship with the major art movements at the time, New York Dada, Precisionism, Regionalism, and Social Realism. By maintaining pleasant distance, but also borrowing useful codings from each group to represent his own, Stieglitz was a master alchemist to survive in the highly contested arena of American Modernism.
목차
1. 들어가는 말
2. 초기 활동과 ‘유럽 모더니즘 미술’
3. 《아모리 쇼》
4. 후기 활동과 ‘미국적 미술’의 담론화
6. 나오는 말
참고문헌
Abstract
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