Lincoln Kirstein'swriting is a notable example of a wide historical awareness that was fired by passion and guided by taste. He established his interests in art and literature as an undergraduate at Harvard during the late 1920s.There he started the famous quarterly Hound & Horn, a magazine that published the work of such writers as James Joyce and Gertrude Stein, and also cofounded the Harvard Society for Contemporary Art, which exhibited the work of cutting-edge artists. Best known for his pioneering efforts to cultivate ballet in the United States, he actively pursued a professional partnership with legendary choreographer George Balanchine, with whom he founded both the School of American Ballet and the New York City Ballet. This collection, in paperback for the first time, showcases Kirstein's knowledge of dance, painting, photography, theatre, politics, and literature and combines many of his best-known and most authoritative statements with less familiar but equally brilliant polemics and appreciations. Along with autobiographical essays and poetry, his commentary covers such diverse personalities as composer Igor Stravinsky, photographer Walker Evans, author Ernest Hemingway, actress Marilyn Monroe, and Robert Gould Shaw, leader of the courageous black Civil War regiment. The book also contains photographs from Kirstein's private collection--portraits of himself and other famous artists of the time, such as Diaghilev, Cocteau, and Eisenstein, among others.
Traces the development of dance's basic components, choreography, gesture, music, costume, and scenery, and discusses the backgrounds of the most important ballets
The evocative reminiscences of one of America's great men of modern American culture focuses on Kirstein's youth and early struggle for identity, from his childhood in Boston to his world travels, culminating in his 1933 attempts to bring Balanchine to the U.S.
More than any other artist, Walker Evans invented the images of an essential America that we have long accepted as fact, American Photographs, first published by The Museum of Modern Art in 1938, is the purest and most complete expression of his cool, unblinking vision. the eighty-seven photographs reproduced on its pages are as relevant and essential as ever, with Lincoln Kirstein's essay as their eloquent foil. American Photographs has been a key touch-stone for photographers and those who seek to understand the lyric potential of the medium, but it has often been out of print. This Seventy-Fifth-Anniversary Edition, with sumptuous duotone plates complementing the elegant restraint of the original typography and design, makes Evans's landmark book available again. For the first time, digital technologies aid in emulating the precise cropping and finely tuned balance of the 1938 reproductions, capturing as never before the look and feel of the first edition."--cover jacket.
The 800 masterful drawings by Carlus Dyer demonstrate the proper body position, balance point, movement, and attitude of each position and step in the basic classical repertoire. As Balanchine points out in his preface, the illustrations are more accurate than photographs could possibly be because they have been corrected and recorrected until they approximate the ideal.
Traces the development of dance's basic components, choreography, gesture, music, costume, and scenery, and discusses the backgrounds of the most important ballets
More than any other artist, Walker Evans invented the images of an essential America that we have long accepted as fact, American Photographs, first published by The Museum of Modern Art in 1938, is the purest and most complete expression of his cool, unblinking vision. the eighty-seven photographs reproduced on its pages are as relevant and essential as ever, with Lincoln Kirstein's essay as their eloquent foil. American Photographs has been a key touch-stone for photographers and those who seek to understand the lyric potential of the medium, but it has often been out of print. This Seventy-Fifth-Anniversary Edition, with sumptuous duotone plates complementing the elegant restraint of the original typography and design, makes Evans's landmark book available again. For the first time, digital technologies aid in emulating the precise cropping and finely tuned balance of the 1938 reproductions, capturing as never before the look and feel of the first edition."--cover jacket.
The first volume to showcase both Lincoln Center's fabulous public art and the List Poster and Print collection, Art at Lincoln Center begins with a tour of the campus and the art that has been collected since its inception. A brief history of how the pieces were selected and brought to Lincoln Center follows (featuring Frank Stanton, David Rockefeller, and Philip Johnson who were the leading figures in building the collection) with charming anecdotes about the artists and the politics behind the selections of the artists and their works. The story of the creation of the List collection, with a focus on Vera List's formidable role, close the text portion of the book. The last portion is a complete catalog of the List print and poster collection.
The use of the visual arts to show us our own moral and economic situation has today fallen almost completely into the hands of the photographer. It is for him to fix and to reveal the whole aspect of our society: to record for use in the future our disasters and our claims to divinity. Walker Evans, photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers. His photographs are the records of contemporary civilization in eastern American.~In the reproductions presented here, two large divisions have been made. The photographs are arranged to be seen in their given sequence. In the first part, which might be labeled "People by Photography," we have an aspect of America for which it would be difficult to claim too much. The physiognomy of a nation is laid on your table. In the second part are pictures which refer to the continuous fact of an indigenous American expression, whatever its source, whatever form it has taken, whether in sculpture, paint, or architecture: that native accent we find again in Kentucky mountain and cowboy ballads and in contemporary swing-music. --from the jacket of the 1938 edition~More than any other artist, Walker Evans invented the image of essential America that we have long since accepted as fact. His work, presented in stark and prototypical form in American Photographs, has made its impact not only on photography but also on modern literature, film, and the traditional visual arts. First published in 1938 by The Museum of Modern Art, American Photographs has often been out of print. This edition uses duotone plates made for the 1988 edition from original prints, and makes Evans' landmark book available again. The design and typography have been recreated as precisely as possible.
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