| |
| |
| |
| 1900-1920: Cultural and Historical Context for the First Twenty Years | |
| |
| |
| Early Twentieth-Century Realists | |
| |
| |
| The Younger American Painters | |
| |
| |
| |
| Progress in Our National Art… | |
| |
| |
| |
| Diaries (1906, 1908, 1909, 1911, 1912) | |
| |
| |
| |
| The Critical Issues: Modernism and American Consciousness | |
| |
| |
| Art: Life's Prismatic Glass | |
| |
| |
| |
| Modern Painting: Its Tendency and Meaning | |
| |
| |
| |
| Artists and Others | |
| |
| |
| |
| African Negro Art: Its Influence on Modern Art | |
| |
| |
| |
| Of Our Spiritual Strivings | |
| |
| |
| |
| American Art | |
| |
| |
| |
| New Forms for a New Century | |
| |
| |
| Notes for a Catalogue | |
| |
| |
| |
| The Fourth Dimension from a Plastic Point of View | |
| |
| |
| |
| Statement for 291 Exhibition | |
| |
| |
| |
| The Georgia O'Keeffe Drawings and Paintings at '291,' | |
| |
| |
| |
| Photography as Art, Photography as Tool for Reform | |
| |
| |
| Photography as a Fine Art | |
| |
| |
| |
| Photography | |
| |
| |
| |
| Social Photography | |
| |
| |
| |
| Armory Show, Independents Show of 1917, and New York Dada | |
| |
| |
| A Layman's Views of an Art Exhibition | |
| |
| |
| |
| Cubists and Post-Impressionism | |
| |
| |
| |
| Collection of the Soci�t� Anonyme: Museum of Modern Art | |
| |
| |
| |
| We Are Living in the Age of the Machine | |
| |
| |
| |
| The Blind Man | |
| |
| |
| |
| Mefk Maru Mustir Daas | |
| |
| |
| |
| |
| The 1920s: Cultural and Historical Context for the Jazz Age | |
| |
| |
| Machine Age Modernism and Modernity | |
| |
| |
| The Brooklyn Bridge | |
| |
| |
| |
| The Americanization of Art | |
| |
| |
| |
| Ford Plant Photos of Charles Sheeler | |
| |
| |
| |
| The Great Figure | |
| |
| |
| |
| Cultural Nationalism—Defining American: The Usable Past, the Local the Popular | |
| |
| |
| On Creating a Usable Past | |
| |
| |
| |
| My American Epic in Paint | |
| |
| |
| |
| Advertures in the Arts | |
| |
| |
| |
| The Great American Billposter | |
| |
| |
| |
| Cultural Primitivism—Defining Authenticity: The Usable “Other” Natural Men and Women | |
| |
| |
| America Has Its Primitives | |
| |
| |
| |
| A Negro Artist Plumbs the Negro Soul | |
| |
| |
| |
| Introduction to Max Weber, Primitives: Poems and Woodcuts | |
| |
| |
| |
| Georgia O'Keeffe: White Paint and Good Order | |
| |
| |
| |
| The New Negro | |
| |
| |
| The Legacy of the Ancestral Arts | |
| |
| |
| |
| The Negro Artist and the Racial Mountain | |
| |
| |
| |
| An Autobiography | |
| |
| |
| |
| Artists Abroad | |
| |
| |
| Why Do Americans Live in Europe? | |
| |
| |
| |
| Letters from Paris | |
| |
| |
| |
| |
| The 1930s: Cultural and Historical Context for the Depression Years | |
| |
| |
| The Depression Experience | |
| |
| |
| An Artist's Experience in the 1930s | |
| |
| |
| |
| Interview with Philip Evergood | |
| |
| |
| |
| American Rhapsody (2) | |
| |
| |
| |
| Interview… | |
| |
| |
| |
| Revolutionary Theory and Practice—The Search for Styles | |
| |
| |
| The World Crisis Expressed in Art… | |
| |