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Jacob Riis, Five Cents Lodging, Bayard Street, c. 1889
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Jacob Riis, Bandit's Roost," 1887-88 |
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| Jacob Riis, In the Home of an Italian Rag-picker, Jersey Street, (1890) |
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Lewis W. Hine,
Child in Carolina Cotton Mill |
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| Marden Hartley, Portrait of a German Officer (1914) |
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| Imogen Cunningham, Two Callas (1929) |
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| George Bellows, Cliff Dwellers, (1913) |
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| Alfred Stieglitz, Spring Showers (1900) |
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| John Sloan, Hairdresser's Window (1907) |
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The Ludlow Massacre was an attack by the Colorado National Guard and Colorado Fuel & Iron Company camp guards on a tent colony of 1,200 striking coal miners and their families at Ludlow, Colorado on April 20, 1914.
In 1914, when workers at Colorado mine went on strike, company guards fired machine guns and killed several men. More battling followed, during which 2 women and 11 children were killed and John D. Rockefeller Jr., the chief mine owner, was pilloried for what had happened. |
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Robert Edmond Jones,
Pageant of the Patterson Strike
(1913) |
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Edward Steichen
Self Portrait with Palette and Brush (1902) |
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Robert Henri
Laughing Child
(1907) |
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| Precisionism was the first indigenous modern-art movement in the United States and an early American contribution to the rise of Modernism. The Precisionist style, which first emerged after World War I and was at the height of its popularity during the 1920s and early 1930s, celebrated the new American landscape of skyscrapers, bridges, and factories in a form that has also been called "Cubist-Realism."[1] The term "Precisionism" was first coined in the mid-1920s, possibly by Museum of Modern Art director Alfred H. Barr.[2] Painters working in this style were also known as the "Immaculates," which was the more commonly used term at the time.[3] The stiffness of both art-historical labels suggests the difficulties contemporary critics had in attempting to characterize these artists. |
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Georgia O'Keefe
The Radiator Building (1927) |
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Georgia O'Keeffe
City Night
(1926) |
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Charles Sheeler
Church Street El
(1920) |
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Charles Sheeler
My Egypt
(1927) |
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Charles Sheeler
Classic Landscape
(1931) |
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Charles Demuth
I Saw the Figure 5 in Gold
(1928) |
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| Regionalism is an American realist modern art movement that was popular during the 1930s. The artistic focus was from artists who shunned city life, and rapidly developing technological advances, to create scenes of rural life. Regionalist style was at its height from 1930 to 1935, and is best-known through the so-called "Regionalist Triumvirate" of Grant Wood in Iowa, Thomas Hart Benton in Missouri, and John Steuart Curry in Kansas. During theGreat Depression of the 1930s, Regionalist art was widely appreciated for its reassuring images of the American heartland. |
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Grant Wood
American Gothic
(1930) |
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Grant Wood
Fall Plowing
(1931) |
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Grant Wood
Parson Weem's Fable
(1939) |
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Alexandre Hogue
Erosion No. 2
(1938) |
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John Steuart Curry
Baptism in Kansas
(1928)
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Dorothea Lange
Migrant Mother
(1936) |
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Walker Evans
Allie Mae Burroughs
(1936) |
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Ben Shahn
Sheriff During Strike
(1935) |
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Aaron Douglas
Aspects of Negro Life
(1934) |
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Winold Reiss
Langston Hughes
(1925) |
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Archibald Motley Jr.
Blues
(1929) |
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James Van Der Zee
Couple in Racoon Coats with a Cadillac |
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Gordon Parks
American Gothic
(1942) |
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George Tooker
The Subway
(1950) |
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| Alain Locke ranks as the 36th most influential African American ever, past or present. Distinguished as the first African American Rhodes Scholar in 1907, Locke was the philosophical architect—the acknowledged “Dean”—of the Harlem Renaissance, a period of cultural efflorescence connected with the “New Negro” movement from 1919–1934. Locke’s importance as the ideological genius of the Harlem Renaissance is of great historical moment, immortalized in the Harlem Number of The Survey Graphic 6.6 (1 March 1925), a special issue on race for which Locke served as guest editor. That edition was entitled, Harlem, Mecca of the New Negro, which Locke subsequently recast as an anthology, The New Negro: An Interpretation of Negro Life, published in December 1925. A landmark in black literature (later acclaimed as the “first national book” of African America), it was an instant success. Locke contributed five essays: the “Foreword,” “The New Negro,” “Negro Youth Speaks,” “The Negro Spirituals,” and “The Legacy of Ancestral Arts.” On March 19, 1968, the Rev. Dr. Martin Luther King, Jr., proclaimed: “We’re going to let our children know that the only philosophers that lived were not Plato and Aristotle, but W. E. B. Du Bois and Alain Locke came through the universe.” |
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| a.k.a. The New York School) exploded onto the art scene after World War II with its characteristic messiness and extremely energetic applications of paint. To the contemporary audience, the whole enterprise seemed like youthful antagonism--hardly worthy of the name "art." |
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| an American essayist known mainly as an influential visual art critic closely associated with American Modern art of the mid-20th century. In particular, he is best remembered for his promotion of the abstract expressionist movement and was among the first published critics to praise the work of painter Jackson Pollock. |
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| an American writer, educator, philosopher and art critic. He coined the term Action Painting in 1952 for what was later to be known as abstract expressionism.[1] Rosenberg is best known for his art criticism. Beginning in the early 1960s he became art Critic for the New Yorker magazine. |
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Arshile Gorky
Portrait of the Artist's Mother
(1936) |
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Arshile Gorky
The Liver is the Cock's Comb
(1944) |
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Jackson Pollock
Guardian of the Secret
(1943) |
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Lee Krasner
Composition
(1949) |
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Mark Rothko
Green and maroon
(1953) |
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Robert Motherwell
Elegy to the Spanish Republic |
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Barnett Newman
Vir Heroicus Sublimus
(1951) |
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Morris Louis
Dalet Kaf
(1960) |
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Helen Frankenthaler
Mountains and Sea
(1952) |
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| an Italian-American art dealer. He was best known to the public as an art dealer whose gallery showcased cutting edge Contemporary art for five decades.Castelli showed Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements. |
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Robert Rauschenberg
Monogram |
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Claes Oldenburg
Floor Burger
(1962) |
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Claes Oldenburg
Clothespin |
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Roy Lichtenstein
Whaam
(1963) |
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William Rosenquist
F-111
(1965) |
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David Hockney
Pool with two figures |
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David Hockney
Peter getting out of Nick's Pool |
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Wayne Thiebaud
Pies, Pies, Pies |
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Edward Kienholz
The State Hospital
(1966) |
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| where the work is set out to expose the essence or identity of a subject through eliminating all non-essential forms, features or concepts. Minimalism is any design or style in which the simplest and fewest elements are used to create the maximum effect. |
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Carl Andre
Altstadt Copper Square
(1967) |
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Donald Judd
Untitled
(1965) |
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Brice Marden
The Dylan Painting
(1966) |
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Duane Hanson
Ugly Americans
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Vija Celmins
Untitled (Big Sea)
(1969) |
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Audry Flack
Marilyn Vanitas
(1977) |
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Robert Smithson
Spiral Jetty
(1970) |
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Agnes Martin
Night Sea
(1963) |
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Chris Burden
Transfied
(1974) |
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Judy Baca
Great Wall of LA |
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Betye Saar
The Liberation of Aunt Jemima
(1972) |
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Robert Colescott
George Washington Carver Crossing the Delaware |
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Laurie Simmons
Walking House
(1989) |
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Eric Fischl
The Old Man's Boat and the Old Man's Dog
(1982) |
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Jeff Koons
Michael and Bubbles
(1988) |
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Felix Gonzales-Torres
Portrait of Ross |
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Andres Serranos
Piss Christ
(1987) |
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