Includes bibliographical references (pages 257-278) and index.
Ch. 1. Wild beasts caged : the Salon d'automne, Paris, 1905 -- chapter 2. Cubism meets the public the Salon des independants and the Salon d'automne, Paris, 1911 The Salon of the section d'or, Paris, 1912 -- chapter 3. From almanac to exhibition : the first exhibition of the editors of the Blaue Reiter, Munich, 1911 -- chapter 4. Explosion at the armory : international exhibition of modern art, New York, 1913 -- chapter 5. In the zero of form : 0-10, the last futurist exhibition of pictures, Petrograd, December 19, 1915-January 19, 1916 -- chapter 6. Dada ist politisch : the first international Dada fair, Berlin, June 30-August 25, 1920 -- chapter 7. Snails in a taxi : international exposition of surrealism, Galerie beaux-arts, Paris,January-February, 1938 -- chapter 8. Displacement of the avant-garde Exhibition of degenerate art, Munich, 1937 First papers of surrealism, New York, 1942 Art of this century, New York, 1942 -- chapter 9. Downtown : Ninth Street show, New York, May 21-June 10, 1951 -- chapter 10. To challenge the sun : exhibitions of the Gutai Art Association, Ashiya, Osaka, Tokyo, 1955-57 -- chapter 11. Pop triumphant : a new realism Yves Klein's Le vide, Galerie Iris Clert, Paris, 1958 Arman's Full-up, Galerie Iris Clert, Paris, 1960 New realists, Sidney Janis Gallery, New York, 1962 -- chapter 12. Theory on the floor : primary structures, the Jewish Museum, New York, April 27-June 12, 1966 -- chapter 13. Dematerialization : the voice of the sixties : January 5-31, 1969, 44 East 52nd Street, New York When attitudes become form : works-processes-concepts-situations-information (live in your head), Kuntshalle Bern, March 22-April 27, 1969.
Editor: Mark Greenberg.
The avant-garde is a twentieth-century phenomenon. By the turn of the nineteenth century, artists were beginning to address a far larger audience than ever before, and it was one on whose understanding they could no longer depend. Aesthetic concerns, too, had shifted from representing visual phenomena to reconfiguring the visible world in new and complicated ways. The public was rarely amused. Indeed, as these newer forms of art were presented in now famous exhibitions, derision and anger were the customary responses of the public and the critics. Artists formed more or less cohesive groups of like-thinking individuals who styled themselves the "avant-garde," really a military term for those pathfinders who first venture into unknown or enemy territory.
Through photographs of personalities, installations, and works of art, and in a lively text that recounts the artistic thinking and the gossip that surrounded each new movement, The Avant-Garde in Exhibition: New Art in the 20th Century traces this phenomenon from its beginnings in the Fauvist Salon d'Automne in Paris in 1905 through such notorious events as the exhibitions of the Section d'Or (Paris) and the Blue Rider (Munich), the Armory Show (New York), the Futurist 0-10 exhibition (Petrograd), the Dada Fair (Berlin), the Nazi's Degenerate Art Exhibition (Munich), the First Papers of Surrealism (New York), Peggy Guggenheim's Art of This Century (New York), the Ninth Street Show (New York), the Gutai Art Association (Japan), Le Vide (Paris), Full-Up (Paris), the New Realists (New York), Primary Structures (New York), and When Attitudes Become Form (Bern).