Collecting as Modernist Practice: (Hopkins Studies in Modernism)

Table of Contents:
Acknowledgments Introduction: Collections Mediation Modernist 1. After Imagisme The Lyric Year and the Crisis in Cultural Valuation The Anthology as Weapon The Others Formation Reprisal Anthologies 2. The Domestication of Modernism: The Phillips Memorial Gallery in the 1920s Pictorial Publicity Subconscious Stimulation, a Professional Public Sphere Problems in Collecting Pictures Akhenaten, Patron of Modernism 3. The Barnes Foundation, Institution of the New Psychologies Against Dilettantism A System for the New Spirit Collection and Institution The Art of Memory in the Age of the Unconscious 4. The New Negro in the Field of Collections Sage Homme Noir Precursor Anthologies Coterie, Movement, Race The Heritage of The New Negro Downstairs from the Harlem Museum 5. Modernism's Archives: Afterlives of the Modernist Collection Two Termini Two Consecrations Two Archives Notes Bibliography Index

About the Author :
Jeremy Braddock is an associate professor of English at Cornell University.

Review :
A book that's going to rewrite what we think about art objects, poems, property, museums, anthologies—and race and modernity and on and on . . . So comprehensive is it that it will be impossible to ignore. —Tim Morton, Ecology Without Nature The final chapter on the institutionalization of modernism in archival collections and rare book libraries is particularly illuminating for the history of librarianship . . . The breadth of his scholarship, evidenced by the seventy pages dedicated to the index and bibliography, makes this title a critical addition to libraries supporting modern art collections and modern art history programs. —Art Libraries Society of North America Acute and important . . . a wide-ranging study based on the unexpected but revealing parallels between the selection of work for poetry anthologies and the acquisition of art for collections during the modernist era. —Barry Schwabsky, The Nation Braddock's book stands as a towering achievement . . . Essential. —Choice Collecting as a Modernist Practice not only explains how art is consumed, but it also analyzes how art circulates, not freely, but according to choices made by people who enjoy either power, influence, or fortune. The author not only tells how things happened, but he also links decisions with consequences . . . Historians of ideas, sociologists of art and culture, and advanced students in cultural studies will surely benefit from this elegant, well-written book. —Yves Laberge, Journal of American Culture Braddock. . . neatly outline[s] the path of the modernist collection from provisional institution to mainstream culture to large institution in a cogent manner that may cause present-day museum professionals and collectors to consider the potential life cycle of their collecting and display practices. —Kara York, Journal of Curatorial Studies Collecting as Modernist Practice, Jeremy Braddock's closely reasoned and well written examination of modernist collecting practices, demonstrates how attempts to define and regulate culture often reveal underlying structures of political and economic power... —John Scheckter, Ecloga Jeremy Braddock's Collecting as Modernist Practice makes a very productive expansion of the archival turn in modernist studies . . . Braddock's work on Albert Barnes and the Barnes Foundation is sure to elicit attention and further development in modernist studies. —The Year's Work in English Studies