01-01-2020
Exhibition
21-09-2019 - 15-12-2019
Exhibition
22-06-2019 - 08-09-2019
Performance
24-04-2019 - 25-04-2019
Exhibition
02-02-2019 - 05-05-2019
Exhibition
05-11-2018 - 13-01-2019
Activation
01-10-2018 - 31-10-2018
Publication
01-09-2018
Public Program
29-08-2018
Exhibition
12-05-2018 - 30-09-2018
Public Program
15-03-2018
Exhibition
03-02-2018 - 15-04-2018
Publication
03-02-2018
Publication
19-12-2017
Performance
01-12-2017 - 02-12-2017
Exhibition
01-12-2017 - 28-01-2018
Performance
27-10-2017 - 31-10-2017
Activation
28-08-2017 - 25-09-2017
Exhibition
04-06-2017 - 27-08-2017
Intervention
04-06-2017 - 27-08-2017
Public Program
18-05-2017
Activation
29-04-2017 - 31-05-2017
Public Program
25-04-2017
Public Program
29-03-2017
Exhibition
05-02-2017 - 30-04-2017
Performance
06-11-2016 - 10-12-2016
Public Program
16-10-2016
Exhibition
01-10-2016 - 08-01-2017
Exhibition
15-05-2016 - 10-07-2016
Exhibition
04-01-2016 - 03-04-2016
Intervention
Publication
19-12-2017
Marius de Zayas wrote and published most of the material in this book between 1910 and 1917 in New York City, in three separate magazines: América, Cámera Work, and 291, and in two small books, one published by Alfred Stieglitz’s gallery and one by the Modern Gallery. These writings correspond to a crucial moment in Marius de Zayas’s life -which he documented in How, When, and Why Modern Art Arrived in New York– and are far less extensive than his graphic journalism. However, they have never previously been gathered in a single volume nor republished, except in a very few cases, such as in Pam Robert’s omnibus on Camera Work (Taschen, 1997) and in Jack Flam and Miriam Deutch’s anthology: Primitivism and Twentieth-Century Art: A Documentary History (University of California Press, 2003), which included one of the information sheets from the Modern Gallery (Statuary in Wood by African Savages: The Roots of Modern Art) and a wide selection of African Negro Art: its Influence on Modern Art.
The objective of Writings on Art: Marius de Zayas is to broaden the knowledge and approaches to early-twentieth-century art. They are the views and opinions of a key figure of the Western modern art experience yet who has not yet been given his place among his contemporaries. Zayas’s texts appear in this book thanks to a painstaking and broad-ranging process of compilation, translation and editing by Antonio Saborit, who also wrote this volume’s introduction and notes.
