Cover

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Title Page, Copyright Page

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Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-xii

The earliest thinking for this project began with the inspiration of two remarkable teachers, Phil Harper and Tim Morton. The work took shape under the brilliant guidance of Jean-Michel Rabaté, who first listened to my inchoate effusions about the Barnes Foundation and The New Negro (responding with “collecting!”) and then spent many hours in conversation with me as the project evolved. ...

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Introduction: Collections Mediation Modernism

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pp. 1-28

A study of the central role of the collection within modernism might simply start by observing how many modernist artworks themselves resemble collections. We could begin by pointing to the citations and quotations that mark Ezra Pound’s Cantos and T. S. Eliot’s The Waste Land and, following Marjorie Perloff , connect these strategies to the collage aesthetics of futurist painting, synthetic ...

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1 After Imagisme

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pp. 29-70

By the time Ezra Pound’s anthology Des Imagistes appeared in London, it had already circulated in New York in two forms. It was published as the February 1914 issue of Alfred Kreymborg and Man Ray’s journal the Glebe, and in early March the same sheets were bound as a book appearing under the imprint of Albert and Charles Boni, the same publishers who would ...

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2 The Domestication of Modernism: The Phillips Memorial Gallery in the 1920s

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pp. 71-105

By the 1920s, and particularly after the Quinn auction, collectors of modern art in the United States were loosely cooperating in a general project of popularizing modernism, as well as competing for influence over the mode of its reception—competing, in other words, for the meaning of modernism itself. Of all of these collectors, it was Duncan Phillips who most successfully anticipated the dominant cultural position that modern art would ...

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3 The Barnes Foundation, Institution of the New Psychologies

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pp. 106-155

As of 2011, the Phillips Collection and suburban Philadelphia’s Barnes Foundation were the only two private modern art collections of the American 1920s still housed in their original buildings. Both collections became institutionalized in the context of American civic museums’ recalcitrance toward modernist painting, and the collections commanded special authority because of the absence of such museums ...

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4 The New Negro in the Field of Collections

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pp. 156-208

In Paris, December 1923, Albert Barnes met Alain Locke, professor of philosophy at Howard University, the first African American Rhodes scholar, and friend to Countee Cullen, Langston Hughes, and Jean Toomer—young writers soon to be claimed as principal poets of the New Negro Renaissance. The following month, Barnes wrote Locke to ask for his assistance in identifying “negro poets, writers, thinkers, musicians ...

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5 Modernism’s Archives: Afterlives of the Modernist Collection

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pp. 209-228

The New Negro was both a paradigmatic and an exceptional modernist anthology of the 1920s. It exceeded the poetic anthology form in a way that few collections have since attempted, but it also reclaimed the anthology’s collectivist and interventionist mode and made the form available for subsequent rearticulations. In the late 1920s, the anthology remained a, if not the , dominant textual form for the circulation of African American writing. ...

Notes

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pp. 229-278

Bibliography

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pp. 279-299

Index

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pp. 301-319