A groundbreaking re-examination of the seminal 1913 New York art show.

On February 17, 1913, the American Association of Painters and Sculptors opened the Armory Show in New York. The ad-hoc association had started out with the modest goal of showing some of the ¿new¿ art coming out of Europe--Duchamp, Matisse, Picasso and many more of today¿s acknowledged masters. What they ultimately created was a sprawling showcase of some of the most ground-breaking (many said subversive) art America had ever seen. This volume includes original documents from this exhibition, and collects the complete text of "For and Against: Views on the Infamous 1913 Armory Show" (ISBN 978-0-9823257-1-1) and "The New Spirit: Pamphlets from the Infamous 1913 Armory Show" (ISBN 978-0-9823257-2-8)

Published on the occasion of an exhibition held Feb. 17-June 16, 2013, at the Montclair Art Musem, Montclair, N.J.

"Chronicles how this landmark exhibition was put together, how it looked, and how it was received ... With twenty-one new color images and a completely updated catalogue raisonné of all the paintings, sculptures, and prints in the original show"--Cover.

From the weekly shopping list to the Ten Commandments, our lives are shaped by lists. Whether dashed off as a quick reminder, or carefully constructed as an inventory, this humble form of documentation provides insight into its maker's personal habits and decision-making processes. This is especially true for artists, whose day-to-day acts of living and art-making overlap and inform each other. Artists' lists shed uncover a host of unbeknownst motivations, attitudes, and opinions about their work and the work of others. Lists presents almost seventy artifacts, including "to do" lists, membership lists, lists of paintings sold, lists of books to read, lists of appointments made and met, lists of supplies to get, lists of places to see, and lists of people who are "in." At times introspective, humorous, and resolute, but always revealing and engaging, Lists is a unique firsthand account of American cultural history that augments the personal biographies of some of the most celebrated and revered artists of thelast two centuries. Many of the lists are historically important, throwing a flood of light on a moment, movement, or event; others are private, providing an intimate view of an artist's personal life: Pablo Picasso itemized his recommendations for the Armory Show in 1912; architect Eero Saarinen enumerated the good qualities of the then New York Times art editor and critic Aline Bernstein, his second wife; sculptor Alexander Calder's address book reveals the whos who of the Parisian avant-garde in the early twentieth century. In the hands of their creators, these artifacts become works of art in and of themselves. Lists includes rarely seen specimens by Vito Acconci, Leo Castelli, Joseph Cornell, Hans Hofmann, Franz Kline, Willem de Kooning, Lee Krasner, H. L. Mencken, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Clyfford Still, and Andrew Wyeth.

This book was written by Mary Mills Lyall in collaboration with her architect husband Earl Harvey Lyall, who also illustrated it. "The Cubies' ABC" is a delightful and humorous satirical alphabet book that makes fun of Cubists while pretending to be a kid's book. Three unidentified individuals are called The Cubies. Each has green hair and is one of three different colors: blue, mustard, and magenta. Instead of using cubes to build them, Earl Lyall used pyramids. They frequently feature jack-o'-lantern-like leering grins, have red triangle eyes and mouths, and have triangular shapes. They frequently scowl and come out as purposefully dim-witted. They swoon over anything Cubist and mock objectivity throughout the entire book.

In this work, Green shows how two notable, seemingly quite disparate events of the pre-WW I era converged, both in time and place, and (more importantly) in their enthusiasm for radical art and radical politics. Champions of the Armory Show and the Paterson Strike Pageant interpreted these events as liberating forces from bourgeois tastes and bourgeois economics. Their common cause notwithstanding, Green notes the lines of divergence between these two celebrations and among their supporters, both then and in the years that immediately followed.