DOI Artikel:
“291” and the Modern Gallery [unsigned]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31461#0086
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It is the purpose of the Modem Gallery to further, by these
means, the development of contemporary art both here and
abroad, and to pay its own way by reasonable charges.
To foreign artists our plan comes as a timely opportunity.
Their market in Europe has been eliminated by the war. Their
connections over here have not yet been established.
Photography has always been recognized by ‘291’ as one
of the important phases of modern expression. The sale of
photographic prints will be one of our activities.
We shall also keep on hand a supply of photographic repro-
ductions of the most representative modern paintings, draw-
ings, and sculptures, in order to give to the public an oppor-
tunity to see and study modern works of art that are privately
owned in Europe and elsewhere.
The literature of modern art will also be dealt with.
Indeed, as time goes on, we propose that nothing shall be
omitted that may make the Modern Gallery a helpful center for
all those—be they purchasers, producers, or students—who are
in developmental touch with a modern mode of thought.
To these products of modernity we shall add the work of
such primitive races as the African Negroes and the Mexican
Indians because we wish to illustrate the relationship between
these things and the art of today.”
Marius De Zayas, who had been a very active worker at “291 ” for years
past,—as is evidenced in the pages of Camera Work—was, as the proposer of
the idea and the chief believer in the need of such an enterprise as the Modern
Gallery, naturally given the management of the experiment. The opening
exhibition consisted of paintings and drawings by Braque, Burty, De Zayas,
Dove, Marin, Picabia, Picasso, Walkowitz; sculpture by Adolf Wolff; photo-
graphs by Alfred Stieglitz; and Negro Art.
Mr. De Zayas, after experimenting for three months on the lines con-
templated, found that practical business in New York and “291 ” were in-
compatible. In consequence he suggested that “291” and the Modern
Gallery be separated. The suggestion automatically constituted a separation.
64
means, the development of contemporary art both here and
abroad, and to pay its own way by reasonable charges.
To foreign artists our plan comes as a timely opportunity.
Their market in Europe has been eliminated by the war. Their
connections over here have not yet been established.
Photography has always been recognized by ‘291’ as one
of the important phases of modern expression. The sale of
photographic prints will be one of our activities.
We shall also keep on hand a supply of photographic repro-
ductions of the most representative modern paintings, draw-
ings, and sculptures, in order to give to the public an oppor-
tunity to see and study modern works of art that are privately
owned in Europe and elsewhere.
The literature of modern art will also be dealt with.
Indeed, as time goes on, we propose that nothing shall be
omitted that may make the Modern Gallery a helpful center for
all those—be they purchasers, producers, or students—who are
in developmental touch with a modern mode of thought.
To these products of modernity we shall add the work of
such primitive races as the African Negroes and the Mexican
Indians because we wish to illustrate the relationship between
these things and the art of today.”
Marius De Zayas, who had been a very active worker at “291 ” for years
past,—as is evidenced in the pages of Camera Work—was, as the proposer of
the idea and the chief believer in the need of such an enterprise as the Modern
Gallery, naturally given the management of the experiment. The opening
exhibition consisted of paintings and drawings by Braque, Burty, De Zayas,
Dove, Marin, Picabia, Picasso, Walkowitz; sculpture by Adolf Wolff; photo-
graphs by Alfred Stieglitz; and Negro Art.
Mr. De Zayas, after experimenting for three months on the lines con-
templated, found that practical business in New York and “291 ” were in-
compatible. In consequence he suggested that “291” and the Modern
Gallery be separated. The suggestion automatically constituted a separation.
64
