... in the context of the preeminent questions circulating in the art world during this time— When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin...

... artists between Thomas McEvilley and the show’s chief of non-­Western origin and for art writers who take architect, William Rubin, in the pages of Artforum, them seriously, negotiating spaces between local in which each accuses the other of overdetermining and global...

... been subjects of recent intense contestations, allow for a reading that pointedLy mirrors, at Least in terms of the structuring of this exhibition, William Rubin's exerdse in taxonomic incongruity: the "Primitivism" exhibition of a decade ago, and Centre Pompidou's more recent "Les Magidens de La...

... Century Art: Affinity of the Tribal and the Modern (exhibition catalogue), ed. William Rubin (New York: Museum of Modern Art, 1984). See also James Clifford, The Predicament of Culture: Twentieth Century Ethnography, Literature, and Art (Cambridge, MA: Harvard University Press, 1988), especially Chapter 9...

... by Hal Foster, written in 22. Foster, “ ‘Primitive’ Unconscious.” the wake of William Rubin and Kirk Varnedoe’s “Primitivism” 23. Coetzee, “He and His Man.” in Twentieth-­Century Art: Affinity of the Tribal and the Modern, 24. According to Fernandes, the artist was reminded of the Buli held...

... Cousins has largely fallen out of arthistorical narratives, during his lifetime he exhibited widely and was championed by a range of wellknown critics in Europe and the United States, including the British art historian Herbert Read, the Belgian painter and curator Michel Seuphor, the US writer William...

... bodies. In the 1915 status of the black body in pain. Our intellectual tra• Fort Lauderdale, Florida, photograph showing the ditions furnish countless examples of the fact that lynching death of Rubin Stacy, for example, a young African American personhood is beyond the pale...

... is no longer constrained to con• stantly reflect upon itself as a means of self-verification; from now on it can simply march in the wake of the global cash flow and re-con• quer the world in its calm, confident stride. The days are gone when, as William S. Rubin still guardedly phrased it in 1984...

... Conwill, “Interview with Betye Saar,” Black Art: An see William S. Rubin, Dada, Surrealism, and Their Heritage (New International Quarterly 3, no. 1 (1978): 4–15. York: Museum of Modern Art, 1967). On the form in California, 15. The breadth of Saar’s subject matter and formal choices can see...

... they Charred corpse of William Stanley suspended from utility pole. • August, 1915, Temple, Texas, were immediately invoked in relation to the Abu Gelatin silver print. Real photo postcard. 5 1/2x3...