Looking at Modern Art

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<ul><li><p>The Art Institute of Chicago</p><p>Looking at Modern ArtSource: The Art Institute of Chicago Quarterly, Vol. 49, No. 2 (Apr. 1, 1955), p. 26Published by: The Art Institute of ChicagoStable URL: http://www.jstor.org/stable/4112606 .Accessed: 15/06/2014 03:56</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to The ArtInstitute of Chicago Quarterly.</p><p>http://www.jstor.org </p><p>This content downloaded from on Sun, 15 Jun 2014 03:56:29 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=artichttp://www.jstor.org/stable/4112606?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>the scene in motion, yet always in balance with- in itself. It was recently a feature of the Amer- ican Exhibition at the Venice Biennale. Shown beside it, Marca-Relli's Collage (1954), which echoes the yellow, white and black color notes of the first, is a quiet and ordered affair, slowly assembled from cut-outs of canvas adhered with tar-like blacks, which trace the figure of a wom- an. The white-off-white shapes compose the figure in the canvas, and bulge and dent the sur- face with the frank procedures of collage. </p><p>The Chicago press led public sentiment to </p><p>object to these two acquisitions, on the basis that someone was pulling someone's leg. It is a </p><p>repeat of history; for what did Pointillism look like in 1926 when Sunday Afternoon on the Is- land of The Grande Jatte came to Chicago, and was nearly refused by Trustees who had never seen anything like it? Where, indeed, would one turn for an account of the most telling develop- ments in the art of one's own day, if not to the art museums which are respectful of living art, and unafraid of controversy? Support of the </p><p>living artist assures not only his survival, but the worth of the collections to generations of art lovers to come. Public acceptance lags only a short way behind in any event. </p><p>The Brooding City, oil on canvas, by Harry Mintz. Gift of Claire and Albert Arenberg </p><p>LOOKING AT MODERN ART </p><p>An interesting experiment for laymen in search of an understanding of Modern Art was launched in February, when ten groups of twenty participants each began a course called "Looking at Modern Art," under leaders se- lected for their understanding of the art of today. Six of the groups meet at the Art Insti- tute, and the experiment extends to Winnetka, Illinois, Akron, Ohio and Detroit, Michigan. The text used is the work of Katharine Kuh, Curator of Modern Painting and Sculpture, who organized this new-style museum art edu- cation through a grant from the Fund for Adult Education of the Ford Foundation, and who leads one of the discussion groups. Free inter- change of opinion is the keynote of procedure in these two-hour evening classes composed of applicants from all kinds of professions. </p><p>Considered a pilot plan, this project may develop into a new kind of adult education in art which asks as much of the participants as of the art consultants who provoke the growth of understanding. Leading the ten groups are: Mrs. Kuh; Daniel Catton Rich, Director of the Art Institute; George Buehr, Associate Lecturer of the Art Institute; Allan Frumkin, of the Allan Frumkin Gallery, Chicago; S. I. Hayakawa, Lecturer in Communication, Uni- versity College, the University of Chicago; Alan Sawyer, Assistant Curator of Decorative Arts at the Art Institute; Franz Schulze, Head of the Art Department, Lake Forest College; James Speyer, architect and Associate Professor, Illinois Institute of Technology; George Culler, Director of the Akron Art Institute, Akron, Ohio; and William E. Woolfenden, Curator in Charge of Art Education at the Detroit Insti- tute of Arts, Detroit, Michigan. </p><p>To the many applicants who were turned away, due to necessary limit of numbers, Mrs. Kuh offers the possibility that new groups will be formed in the Fall. If enthusiasm of the leaders for the intelligent responsiveness of their groups is a measure, continuance would seem assured. </p><p>26 </p><p>This content downloaded from on Sun, 15 Jun 2014 03:56:29 AMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p><p>Article Contentsp. 26</p><p>Issue Table of ContentsThe Art Institute of Chicago Quarterly, Vol. 49, No. 2 (Apr. 1, 1955), pp. 21-40Recent Additions to the Twentieth Century Collection [pp. 21-26]Looking at Modern Art [p. 26]An Exhibition for Paris [pp. 27-30]French Government Sends Drawings [p. 30]Exhibitions [pp. 31-32]The Theater of Japan, a Contemporary Phenomenon [p. 33]Major Work by an American Artist Shown with Preliminary Drawings [pp. 34-35]Calendar of Activities for Members of the Art Institute [pp. 36-37]People and Events [pp. 38-39]A Television Lab for Goodman [p. 40]</p></li></ul>