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Dust jacket notes: "The Societe Anonyme, founded in 1920 by Katherine Dreier, Marcel Duchamp, and Man Ray, was responsible for introducing contemporary European art to the American public. In its first decade, the Societe organized over fifty exhibitions, including the first one-artist shows in this country given to Archipenko, Kandinsky, Klee, Leger, and Villon. Through its exhibitions, lectures, and publications, the Societe hoped to show the public that there were both social and spiritual benefits to be derived from progressive modern art. Donated to Yale University in 1941, the collection of the Societe Anonyme was augmented by Dreier during the last years of her life and by works from her estate upon her death in 1952. The combined collection boasts works by 180 artists and rivals the most important public collections of modern art in America. Its particular flavor owes to its having been formed by artists rather than by collectors. Thus, in addition to substantial holdings of famous artists such as Duchamp, Kandinsky, Klee, Leger, Lissitzky, Mondrian, Man Ray, Schwitters, Stella, and Villon, one finds works by less well-known artists of unusual interest and growing reputation, such as Bruce, Buchheister, Carlsund, Covert, and Duchamp-Villon. This generously illustrated catalogue raisonne provides the only thorough history of the Societe Anonyme and for the first time documents and reproduces the entire collection and associated works from the Dreier estate - a total of 1020 items. The catalogue includes a short biography of each artist and a complete bibliography and exhibition history for each work. Most works are accompanied by interpretive essays incorporating new ideas and information, and often by Duchamp's original texts, never before fully published. This handsome volume is thus of both intrinsic and historical importance, an essential resource to anyone interested in the history of modern art in America...."

Latin Jazz Guide - by James Dreier - HL00148347

Dust jacket notes: "The Societe Anonyme, founded in 1920 by Katherine Dreier, Marcel Duchamp, and Man Ray, was responsible for introducing contemporary European art to the American public. In its first decade, the Societe organized over fifty exhibitions, including the first one-artist shows in this country given to Archipenko, Kandinsky, Klee, Leger, and Villon. Through its exhibitions, lectures, and publications, the Societe hoped to show the public that there were both social and spiritual benefits to be derived from progressive modern art. Donated to Yale University in 1941, the collection of the Societe Anonyme was augmented by Dreier during the last years of her life and by works from her estate upon her death in 1952. The combined collection boasts works by 180 artists and rivals the most important public collections of modern art in America. Its particular flavor owes to its having been formed by artists rather than by collectors. Thus, in addition to substantial holdings of famous artists such as Duchamp, Kandinsky, Klee, Leger, Lissitzky, Mondrian, Man Ray, Schwitters, Stella, and Villon, one finds works by less well-known artists of unusual interest and growing reputation, such as Bruce, Buchheister, Carlsund, Covert, and Duchamp-Villon. This generously illustrated catalogue raisonne provides the only thorough history of the Societe Anonyme and for the first time documents and reproduces the entire collection and associated works from the Dreier estate - a total of 1020 items. The catalogue includes a short biography of each artist and a complete bibliography and exhibition history for each work. Most works are accompanied by interpretive essays incorporating new ideas and information, and often by Duchamp's original texts, never before fully published. This handsome volume is thus of both intrinsic and historical importance, an essential resource to anyone interested in the history of modern art in America...."

Author: James Dreier Latin Jazz Guide A Path to Authentic Percussion and Ensemble Performance Softcover An invaluable resource! -Michael Spir...

Der Erzähler erfindet (»Ich stelle mir vor:«) mögliche Lebensgeschichten dreier Personen: Da ist Gantenbein, der einen Blinden spielt, um so genauer seine Umwelt beobachten zu können. Oder da ist Enderlin, der immer »ein fremder Herr« bleibt. Auch Svoboda muß die Erfahrung machen, daß Liebe und Ehe endlich sind. Übrig im Spiel der erdichteten Rollen bleibt: Gantenbein.

Understanding Practice brings together many different perspectives that have been applied to examining social context. From Ole Dreier's work on the therapeutic relationship, to Hugh Mehan's work on learning disabled students, to Charles and Janet Keller's work on blacksmithing, the chapters form a diverse and fascinating look at situated learning. A distinctive feature of the book is the wide range of theoretical and methodological approaches to the problem of understanding cognition in everyday settings.

A visual feast of modern European and American art from one of the twentieth century’s most extraordinary collections This beautifully illustrated book highlights the unique history of The Société Anonyme, Inc., an organization founded in 1920 by the artists Katherine S. Dreier (1877–1952), Marcel Duchamp (1887–1968), and Man Ray (1890–1976). As America’s first “experimental museum” for modern art, the Société Anonyme provided a means for artists, rather than historians, to chronicle the rise of modernism. Led by Dreier and Duchamp, the group eventually assembled a collection of more than one thousand artworks, which it presented to the public in a variety of innovative programs, publications, and exhibitions. The incredible collection of the Société Anonyme now belongs to the Yale University Art Gallery, a gift from the Société and Dreier. It features the work of more than one hundred artists, many of whom are among the century’s most renowned—including Jean Arp, Duchamp, Max Ernst, Wassily Kandinsky, Paul Klee, El Lissitzky, Piet Mondrian, Man Ray, Kurt Schwitters, and Joseph Stella—as well as works by lesser-known artists whose contributions to modernism are substantial. With new archival information, including personal correspondence between Dreier and the artists whose work she assembled, a host of previously unpublished images, essays by leading scholars, and an interview with artists Robert and Sylvia Mangold about the contemporary significance of this collection, this fascinating book is essential to our understanding of the reception and interpretation of modernism in America.

The heyday of Hollywood studio art departments was in the 1930s and 40s when strong art directors like Cedric Gibbons and Hans Dreier brought together more artists and artisans under one roof working on the same projects than any other enterprise in the history of modern American art. This is the first book to trace the history of studio art direction; the powerful visual presence of films like Rebecca and Gone with the Wind are put into context. The origins of art direction in the early motion pictures, the organization of art departments, and the nature of art direction from the 1920s to the 1950s are covered in early chapters. Then each studio is discussed individually with an examination of its art department and a survey of its output through the fifties. Comprehensive filmographies (a first) provide films and release dates for 226 art directors.

Why did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century? And why did certain works of art belong to the canon while others did not? In this book, Gregor Langfeld argues that National Socialism played a crucial role in the canonization of movements such as Expressionism and the Bauhaus. A role which undermined the post-1945 reputations of many artists associated with classical and figurative trends. Langfeld offers important new insights into the political and ideological motivations behind the New York art world's fluctuations in opinion, fashion, and price.

The heyday of Hollywood studio art departments was in the 1930s and 40s when strong art directors like Cedric Gibbons and Hans Dreier brought together more artists and artisans under one roof working on the same projects than any other enterprise in the history of modern American art. This is the first book to trace the history of studio art direction; the powerful visual presence of films like Rebecca and Gone with the Wind are put into context. The origins of art direction in the early motion pictures, the organization of art departments, and the nature of art direction from the 1920s to the 1950s are covered in early chapters. Then each studio is discussed individually with an examination of its art department and a survey of its output through the fifties. Comprehensive filmographies (a first) provide films and release dates for 226 art directors.

The heyday of Hollywood studio art departments was in the 1930s and 40s when strong art directors like Cedric Gibbons and Hans Dreier brought together more artists and artisans under one roof working on the same projects than any other enterprise in the history of modern American art. This is the first book to trace the history of studio art direction; the powerful visual presence of films like Rebecca and Gone with the Wind are put into context. The origins of art direction in the early motion pictures, the organization of art departments, and the nature of art direction from the 1920s to the 1950s are covered in early chapters. Then each studio is discussed individually with an examination of its art department and a survey of its output through the fifties. Comprehensive filmographies (a first) provide films and release dates for 226 art directors.

Why did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century? And why did certain works of art belong to the canon while others did not? In this book, Gregor Langfeld argues that National Socialism played a crucial role in the canonization of movements such as Expressionism and the Bauhaus. A role which undermined the post-1945 reputations of many artists associated with classical and figurative trends. Langfeld offers important new insights into the political and ideological motivations behind the New York art world's fluctuations in opinion, fashion, and price.

Neuware -Die Europaregion Tirol-Südtirol-Trentino ist durch eine gemeinsame Geschichte verbunden. Mit dem Projekt HISTOREGIO wurden Aspekte dieser geteilten Vergangenheit aufgearbeitet. Ein Ergebnis ist der vorliegende Band, der im Rahmen dreier thematischer Schwerpunkte versucht, den durch unterschiedliche Historiografien verstellten Blick zu überwinden. Die Beiträge setzen sich mit der Frage des regionalen Nationbuildings, den Auswirkungen der Pariser Friedenskonferenz 1919 sowie den technologischen Entwicklungen in Tirol im 19. und 20. Jh. auseinander.L'Euregio Tirolo-Alto Adige-Trentino è legato da una storia comune. Con il progetto HISTOREGIO sono stati studiati diversi aspetti di questo passato condiviso. Uno dei risultati del progetto è questo volume che nell'ambito di tre nodi tematici diversi cerca di superare lo sguardo delle singole storiografie. I contributi si confrontano con la questione dei nation-building regionali, con il tema degli e etti della conferenza di pace di Parigi del 1919 e infine con l'aspetto degli sviluppi tecnologici in Tirolo tra Otto e Novecento. 224 pp. Deutsch

The heyday of Hollywood studio art departments was in the 1930s and 40s when strong art directors like Cedric Gibbons and Hans Dreier brought together more artists and artisans under one roof working on the same projects than any other enterprise in the history of modern American art. This is the first book to trace the history of studio art direction; the powerful visual presence of films like Rebecca and Gone with the Wind are put into context. The origins of art direction in the early motion pictures, the organization of art departments, and the nature of art direction from the 1920s to the 1950s are covered in early chapters. Then each studio is discussed individually with an examination of its art department and a survey of its output through the fifties. Comprehensive filmographies (a first) provide films and release dates for 226 art directors.

Tim O'Dell - composer/soprano and alto saxophones Ryan Shultz - bass trumpet Steve Grismore - guitar Tatsu Aoki - bass David Pavkovik and James Dreier - drums and percussion CRITICAL ACCLAIM for BEFORE MY LIFE: 'A young, new master of the saxophone has arrived, and his name is Tim O'Dell . . . Before My Life is what contemporary jazz is all about and is a showcase of perfect performances.' Lee Prosser --Jazz Review ' . . . Unexpectedly grand . . .' Lloyd Sachs --Chicago Sun Times 'Elton Dean. Ti