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Fifteen Years After: Matthew Baigell’s “American Art and National Identity: the 1920s
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1. Matthew Baigell, “American Art and National Identity: The
1920s,” Arts Magazine, Feb. 1987 (Vol. 61): pp. 48-55. 2. Baigell cites Randolph Bourne as feeling profoundly humiliated
by the Armory Show. The critic had written that it was held “with
the frankly avowed purpose of showing American artists how bad they
were ...,” p. 48. 3. Jonathan Weinberg, Speaking for Vice: Homosexuality in the Art
of Charles Demuth, Marsden Hartley, and the First American Avant-Garde.
New Haven and London: Yale Univ. Press, 1993. 4. See for example: Harmony Hammond, Lesbian Art in America: A
Contemporary History, New York: Rizzoli International Publications,
2000; Sharon Patton, African American Art, Oxford and New York:
Oxford Univ. Press, 1998 ; Whitney Chadwick, Women, Art, and Society,
London and New York: Thames & Hudson, 1990; Norma Broude and
Mary Garrard, eds, The Power of Feminist Art: The American Movement
of the 1970s, History and Impact, New York: Harry N. Abrams, 1994;
Alicia Gaspar de Alba, Chicano Art: Inside/Outside the Master’s
House, Austin: Univ. of Texas Press, 1998; Jacqueline Barnitz, Twentieth-Century
Art of Latin America, Austin: Univ. of Texas, 2001; Edward Lucie-Smith,
Latin American Art of the 20th Century, London and New York: Thames
& Hudson, 1993; Jackson Rushing, ed., Native American Makers
in the Twentieth Century: Makers, Meanings, Histories, London and
New York: Routledge, 1999; Janet Berlo and Ruth Phillips, Native
North American Art, Oxford and New York: Oxford Univ. Press, 1998;
Thelma Golden, Black Male: Representations of Masculinity in Contemporary
American Art, New York: Harry N. Abrams and the Whitney Museum of
Art, 1994; Amy Ling, ed., Yellow Light: The Flowering of Asian American
Arts, Philadelphia: Temple Univ. Press, 1999; Margo Machida, et
al, Asia/America: Identities in Contemporary Asian American Art,
New York: The New Press, 1994; Anne Wagner, Three Artists (Three
Women), Modernism and the Art of Hesse, Krasner, and O’Keeffe,
Berkeley and London, Univ. of California: 1996; Wanda Corn, Modern
Art and National Identity, 1915-1935, Berkeley and London: Univ.
of California Press, 1999; Frances Pohl, Framing America. A Social
History of American Art, London and New York: Thames & Hudson,
2002. Baigell also continues to publish on the topic of identity:
Matthew Baigell and Milly Heyd, eds., Complex Identities. Jewish
Consciousness and Modern Art, New Brunswick and London: Rutgers
Univ. Press, 2001; Matthew Baigell, Jewish American Artists and
the Holocaust, New Brunswick: Rutgers Univ. Press, 1997. 5. Richard J. Powell, Black Art and Culture in the 20th Century.
London and New York: Thames & Hudson, 1997. 6. Sharyn Udall, Carr, O’Keeffe, Kahlo: Places of Their Own.
New Haven: Yale Univ. Press, 2000. 7. Eric de Chassey, ed., Made in USA: l’art américain,
1908-1947. Paris: Réunion des Musées Nationaux, 2001. 8. Carol Becker, “A Conversation with Okwui Enwezor,” Art Journal, Summer 2002 (Vol. 61, no. 2): p. 25.
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