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In this Issue

Table of Contents

  1. Introduction
  2. Paul Cappucci, Daniel Morris
  3. pp. 1-11
  4. DOI: https://doi.org/10.1353/wcw.2016.0000
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Articles

  1. Thin and Tantalizing: The Armory Show at 100
  2. Lisa Siraganian
  3. pp. 12-16
  4. DOI: https://doi.org/10.1353/wcw.2016.0001
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  1. Painting Williams, Reading Demuth: “The Great Figure” and I Saw the Figure 5 in Gold
  2. Daniel R. Schwarz
  3. pp. 17-32
  4. DOI: https://doi.org/10.1353/wcw.2016.0002
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  1. Form and Experience: Williams, Dewey, and the Origins of American Postmodernism
  2. Stephen Fredman
  3. pp. 33-52
  4. DOI: https://doi.org/10.1353/wcw.2016.0003
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  1. “This Is Just to Say This Is the End of Art: Williams and the Aesthetic Attitude”
  2. Daniel Morris
  3. pp. 53-65
  4. DOI: https://doi.org/10.1353/wcw.2016.0004
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  1. Ways of Seeing Williams’s “Pictures from Brueghel”
  2. Charlotte L. Kent
  3. pp. 66-80
  4. DOI: https://doi.org/10.1353/wcw.2016.0005
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  1. Improvisation at the Armory Show: An Approach to Understanding Wassily Kandinsky’s Influence on the Writings of William Carlos Williams
  2. Paul Cappucci
  3. pp. 81-94
  4. DOI: https://doi.org/10.1353/wcw.2016.0006
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  1. The Poem on the Page, or the Visual Poetics of William Carlos Williams
  2. Peter Halter
  3. pp. 95-115
  4. DOI: https://doi.org/10.1353/wcw.2016.0007
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  1. Ecocriticism and the Modern Artist’s Notice of Nature
  2. Iris Ralph
  3. pp. 116-134
  4. DOI: https://doi.org/10.1353/wcw.2016.0008
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  1. “There is no thing that with a twist of the imagination cannot be something else”: The Onanistic Abstraction of Duchamp and Williams
  2. Samantha Carrick
  3. pp. 135-158
  4. DOI: https://doi.org/10.1353/wcw.2016.0009
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  1. The Abstract Expressionist Housewife: Fracture, Transposition, Williams and the Three Phases of Modernism
  2. Stephen Paul Miller
  3. pp. 159-196
  4. DOI: https://doi.org/10.1353/wcw.2016.0010
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  1. Destruction and Universals in William Carlos Williams’s The Wedge
  2. Barrett Watten
  3. pp. 197-214
  4. DOI: https://doi.org/10.1353/wcw.2016.0011
  5. restricted access