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The making of the Museum of Modern A...

Whitehead, Margaret.

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The making of the Museum of Modern Art's photography canon: Beaumont Newhall and the rejection of 1930s modernity in New York.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The making of the Museum of Modern Art's photography canon: Beaumont Newhall and the rejection of 1930s modernity in New York./
作者:	Whitehead, Margaret.
面頁冊數:	505 p.
附註:	Adviser: Melani McAlister.
Contained By:	Dissertation Abstracts International68-04A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3258485

The making of the Museum of Modern Art's photography canon: Beaumont Newhall and the rejection of 1930s modernity in New York.
Whitehead, Margaret.

The making of the Museum of Modern Art's photography canon: Beaumont Newhall and the rejection of 1930s modernity in New York. - 505 p.

Adviser: Melani McAlister.

Thesis (Ph.D.)--The George Washington University, 2007.

This dissertation analyzes the importance of the two earliest editions of Beaumont Newhall's illustrated histories of photography, published by the Museum of Modern Art in 1937 and 1938. These groundbreaking works shaped the canon for photography in the fine arts tradition. In choosing illustrations---most prominently from the work of "straight" photographers Alfred Stieglitz, Ansel Adams, Edward Weston, and Walker Evans---Newhall embraced the vision of Museum of Modern Art director Alfred Barr, whose aesthetic theory privileged cubism, straight photography, and the Bauhaus notion of the camera as a machine. Newhall rejected a competing stream of photography that was engaged with the tumultuous democracy of 1930s New York. The dissertation argues that the photography and theories of these other photographers of the modern---Lewis Hine, Berenice Abbott, and the New York Photo League, especially members Max Yavno and Aaron Siskind---were more modern than Newhall's art-for-art's-sake vision, which was ultimately nostalgic in drawing from modernism as a European, male-oriented, art-historical tradition.Subjects--Topical Terms:

1017604
American Studies.

The making of the Museum of Modern Art's photography canon: Beaumont Newhall and the rejection of 1930s modernity in New York.
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245 1 4 $a The making of the Museum of Modern Art's photography canon: Beaumont Newhall and the rejection of 1930s modernity in New York.
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502 $a Thesis (Ph.D.)--The George Washington University, 2007.
520 $a This dissertation analyzes the importance of the two earliest editions of Beaumont Newhall's illustrated histories of photography, published by the Museum of Modern Art in 1937 and 1938. These groundbreaking works shaped the canon for photography in the fine arts tradition. In choosing illustrations---most prominently from the work of "straight" photographers Alfred Stieglitz, Ansel Adams, Edward Weston, and Walker Evans---Newhall embraced the vision of Museum of Modern Art director Alfred Barr, whose aesthetic theory privileged cubism, straight photography, and the Bauhaus notion of the camera as a machine. Newhall rejected a competing stream of photography that was engaged with the tumultuous democracy of 1930s New York. The dissertation argues that the photography and theories of these other photographers of the modern---Lewis Hine, Berenice Abbott, and the New York Photo League, especially members Max Yavno and Aaron Siskind---were more modern than Newhall's art-for-art's-sake vision, which was ultimately nostalgic in drawing from modernism as a European, male-oriented, art-historical tradition.
520 $a Chapter One constitutes a historiographical treatment of Newhall's Photography A Short Critical History and its subsequent editions, also investigating Newhall's life, the famed f/64 Group, and the art-historical theories of Newhall and Barr at the Museum. Chapter Two looks at the unfolding controversies over what constituted the modern and Modernity in New York, arguing that New York emerged as the global capital in the 1930s thanks, in part, to its representation in photography. Chapter Three explores the relationship between two key cultural institutions in the global capital, Rockefeller Center and the Museum of Modern Art, both founded or run by the Rockefeller family and heavily involved with photography as a commodity for social and cultural profit. Chapter Four looks to the skyscraper as emblematic of the global capital, demonstrating that two photographers Newhall omitted---Hine and Abbott---were photographing the skyscraper as the globe's major emblem of modernity. Chapter Five traces the avant-gardism of the leftist, cosmopolitan New York Photo League, ignored by Newhall, and tells of Abbott and her partner, Elizabeth McCausland, as they waged an ideological battle against Newhall and Museum elites for what they thought was most modern in photography. Finally, the Conclusion shows how the circulation of Newhall's aesthetic and nostalgic judgments affected photographic values in the culture during the 1970s boom in photography, and it closes with a question of the role of photography in culture in general and its viability as a critique that can function in society, as it attempted to do in the 1930s.
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