Volume 32, Numbers 1-2, 2015

Table of Contents

Introduction

pp. 1-11
|

Articles

Thin and Tantalizing: The Armory Show at 100

pp. 12-16
|

Painting Williams, Reading Demuth: “The Great Figure” and I Saw the Figure 5 in Gold

pp. 17-32
|

Form and Experience: Williams, Dewey, and the Origins of American Postmodernism

pp. 33-52
|

“This Is Just to Say This Is the End of Art: Williams and the Aesthetic Attitude”

pp. 53-65
|

Ways of Seeing Williams’s “Pictures from Brueghel”

pp. 66-80
|

Improvisation at the Armory Show: An Approach to Understanding Wassily Kandinsky’s Influence on the Writings of William Carlos Williams

pp. 81-94
|

The Poem on the Page, or the Visual Poetics of William Carlos Williams

pp. 95-115
|

Ecocriticism and the Modern Artist’s Notice of Nature

pp. 116-134
|

“There is no thing that with a twist of the imagination cannot be something else”: The Onanistic Abstraction of Duchamp and Williams

pp. 135-158
|

The Abstract Expressionist Housewife: Fracture, Transposition, Williams and the Three Phases of Modernism

pp. 159-196
|

Destruction and Universals in William Carlos Williams’s The Wedge

pp. 197-214
|