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January 06 2013


DOCUMENTS DADA: James Panero. « The Armory Show at 100 »

James Panero. « The Armory Show at 100. The lessons of the 1913 International Exhibition of Modern Art. », The New Criterion, December 2012

For a century, the 1913 “International Exhibition of Modern Art,” better known as the Armory Show, has served as a shorthand in the history of taste. Here is the exhibition that dazzled American provincialism with European sophistication. Here is the event that delivered American culture, kicking and screaming, to the world stage. Here is the moment that separates the reactionary past from the more enlightened present. We may remember little about the barnstorming tour that brought the latest paintings of Duchamp, Picasso, and Matisse—along with up to 1,200 other works—to New York, Chicago, and Boston, but we know enough not to make the same mistakes again. No longer will the avant-garde be dismissed, will progressive cultures be ridiculed, or will the masterpieces of contemporary art remain unrecognized. These have been the lessons of 1913. We are all Armorists now.

The centenary of the Armory Show should put these assumptions to the test. The year 1913 was more than the unofficial start of the twentieth century. It was a highpoint in both European and American cultural innovation. While the historic exhibition of the Armory Show contained some of the most advanced paintings and sculptures coming out of Paris, its most radical feature was the show itself, an American creation with an ambition, foresight, and appreciation of these developments that has yet to be duplicated. “No single event, before or since, has had such an influence on American art,” wrote the Whitney Museum director Lloyd Goodrich at the time of its fiftieth anniversary. Another fifty years on and this claim has only been confirmed. …

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