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D I S P L A C E M E N TO F T H E A V A N T . G A R D E

elegant, if crowded, display. But in all galleriesthe Nazi view of modern art was clear. It was an amazing, if appalling, achievement, for the actual processof confiscation, shipping, and installation had been accomplished in lessthan two weeks. To enter the exhibition visitors climbed a flight of narrow wooden stairs, where they were met by Ludwig Giest large sculpture of Christ on the cross, removed in rgzz from Liibeck Cathedral after public protest. This 6rst gallery was devoted to religious imagery and was dominated by the work of Max Beckmann and Emil Nolde. Featuring Nolde's nine-painting cycle The Ltft "f Christ taken from the Folkwang "lnsolent mockery of the Divine under Centrist rule."lo Museum, the room illuptrated Nolde, who had been a member of the Nazi party since r9zo, objected strenuously to being included in the exhibition, writing to Goebbels of his loyalry and of the Germanic spirit of his painting. Yet despite his strong anti-Semitism and committed parry affiliation, the Gestapo closed one of his exhibitions and vast numbers of his works were removed from museums. Similar objections by Oscar Schlemmer also went unheeded, and his nine works remained in the exhibition. More touchy for the authorities were the five or six paintings by Franz Marc, since Marc had earned an Iron Cross and died in service to the Fatherland near Verdun. The German Ofiicers' Federation protested, and the Tbwn of Blue Horseswx removed from Room 6. But Marck other work were left on display Anti-Semitism, of course, was a major theme of the exhibition, despite the fact that just 6 of the rr2 artists were Jewish. Only Jewish ardsts were shown in the second smaller gallery which included Chagall's Rabbi rhar had been pilloried in Mannheim. Throughout the show walls were covered with anti-Semitic comments, often applied to works by non-Jewish artists. In the next gallery paintings by Kirchner, "German farmers-a Yiddish view," and, more Mueller, and other Aryans were labeled "The reveals itself-in Germany the negro longing for the wilderness oddly, Jewish becomesthe racial ideal ofa degenerateart." This third gallery was the most outrageous in the exhibition. On walls devoted to Dada and abstraction the paintings were hung askew with offensive slogans written around them, though after the Fiihrer's initial visit they seem to have been

I4I

Hitler and Goebbekin Roomj of Att, the Exhibition of Degenerate Munich, J"b tCSZ.Art worhs, fom lefi to right are by Rudolf Belling, EugenHoffmann, Belling Heinrich Campendonh, Paul Klee; (aboue)Campendonh;and (below) ConradFelixmiillzr. The panel on the back uall quotes Hitler from a ryj4 speech.It be'All the artistic and cubural gins: blarher of Cubisrs. Fururists, Dadaisu, and the like is neither soundin racia/termsnor tolerablein nationalterms.h. . .ftrb admits that the dissolutionof all existingideas,all nationsand all races,their mixing and aduheration, is the lofiiestgoal."

zfu

DISPLACEMENTOF THE AVANT.GARDE

straightened.lr The most striking panel was decorated with a simplified version of Kandinskyt abstraction, The Blach Spot, on which were hung some Dada broadsides and works by Schwitters and Klee. Scrawledabovewere Groszt words from the Berlin "Thke Dada seriouslyl itt worth it." Dada Fair poster, now used as Nazi admonition: "An insult to German womanAcross the room Expressionist nudes were displayed as "The hood" and ideal-cretin and whore." Farther along the same wall were rwo of Otto Dixt twenry-six works-the painting from the Dada Fair, now called War Cripples, and his vision of wartime horror, The Tiench.Borh had provoked public outcry "An insult to during the twenties and did so again in Munich, where they were marked "Deliberate sabotageof national defense."l2 the German heroes of the Great'W'ar" and Since the exhibition was intended to show the degree to which things had degeneratedduring the yearsof the \Teimar Republic, it highlighted works of German Expressionism, which had become popular with progressivecurators during the rgzos and were abundant in museum collections. Schmidt-Rottluff led the group with twenfy-seven paintings and twenry-four prints-in Room 5 his still lifes were labeled "Nature as seen by sick minds"-followed by Kirchner's thirry-rwo works and Noldes Nventy-seven.There were rwenty-one Beckmanns,and ten or more works by Kokoschka, Pechstein,Mueller, and Heckel. Despite the prominence given to Dada in the wall decoration, it was much lesswell represented,but the show did include rwenry works Karl Schmidt-RottluffYxe with by Grosz and four by Schwitters. Fiom rhe Blaue Reiter came fifteen Klees, fourteen Kandinskys, thirteen Feiningers, and less than ten each by Campendonk, Jawlensky, Dahlias, r9rz. Oil on cAnuAt and Marc. Most of the sculpture was figurative-Ernst Barlacht reunion of Christ and 3i% x 3ot/ain. Kunsthalle,Biek"Nature "nvo as monkeys in nightshirts." But there was some abstract sculp- feld. Undzrthe uords St. John was seen as ture such as Rudolf Belltng's Tiiad which had to be removed by embarrassedofficials seenby sick minds" in Room5, this painting was hung along after discovering that his bronze of the boxer Max Schmeling was on display in the with otherExpresioniststill lifes Great German fut Exhibition. There also was a large animal-like form by Richard and landscapesby Schmidr Haizmann, compared in the exhibition guide to a cat modeled by a mental patient. Rottkff Ern* Luduig Kirchner The comparison beween avant-gardeart and mental illness was natural to Emil Nolde, Erich Nagel, and the Nazi perspective on cukure, reinforcing the connection between modernism and degenerary in all its forms. The guide to the exhibition juxtaposed works by Klee, HeinrichDauringhausen. Kokoschka, and Eugen Hoffrnann with piecesfrom the Prinzhorn collection of art of the insane, and the seventh group of works demarcatedin the text were said to repre"the sent idiot, the cretin, and the cripple."tt Advanced art was charged with presenting images of Africa and Oceania as the racial ideal, as it was said to portray the prosdtute as a moral one. To represent degeneracyin all its forms, the cover of the guide showed "the a primitivistic sculpture installed in the ground floor lobby-The New Man by Jew" Otto Freundlich, who would die in the Lublin-Maidanek concentration camp after being captured by the Gestapo trying to escapefrom occupied France. Bolshevism itself was viewed as the epitome of degeneration,a debasementof politics to anarchy. The guide stressedthe political endi served by mo groups of degenerate arworks, those depicting social misery and classexploitation, and others attacking the German military. Yet it was not only that advanced art served political ends, bu"t that the destructive anarchy of aestheticfor^ *", an expressionof the sa-e degeneracyof spirit that issuedin leftist politics. Modern aft was seenas an expression of what had happened to sociery during the modern period, a time of political, moral, and psychological dissolution, a condition that in Germany had led to the disastrous 'Weimar. yearsof For Nazi theorists, it was no coincidence that much of the degenerate art had entered museums at just this time. One alleged manifestation of this situation was the arnount of money that the state museums had spent on degenerateworks. At the exhibition most works were listed by artist, title, museum from which confiscated,date of acquisition, and price of

r41

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DISPLACEMENTOF THE AVANT.GARDE

Ernst Ludwig Kirchner. SelfPortrait as Soldier, r9r5. Oil on canuas, z71Z x z4 in. Allen Memoial Art Museurn, Oberlin College,Oberlin, Ohio, Charles E Olney Fund, 50.29.Exhibited as Soldier with Vhore with rither Kirchnersin Roomj, this painting washung next to a quotation meant to be mochedahng "dtmouith theart-a remarhbT cratic" curator Edwin Redslob, art cornmissionerof the W'eimar Republic, extolling the artist as comparableto Diirer. Ouerhead "Deliberate werethe words sabo'An uge of national defense"and insub to the Gerzan heroesof tbe GreatrVar"

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First, however, high officials appropriated particular pieces, with Hermann Gciring adding to his personal collection a number of Impressionist pictures along with Gaugiris Ri&rs on the Sand. Foreign dealersvied for the right to sell the other works, but four German dealerswere given priority. However, Iz5 of the outstanding pieces were reservedfor an auction to be held in Lucerne on June i'o, 1919at the Galerie Fischer. Among others, paintings by Corinth, Marc, Kokoschka, Braque, Derain, Chagall, Kee, Beckmann, Pascin, Gauguin, van Gogh, Picasso,Marc, Modigliani, Nolde, and Ensor were put on the block. Despite aftempts at a boycott, the auction attracted dealers, museum representatives,and collectors from around the world. Many works would make their way to the United States, including some of the most important paintings now in American museums.IT International sale saved relatively few of the confiscated works, for most met the fate that Goebbels intended. Three months before the Lucerne auction, on March 20, the art deemed unsalable was burned in the yard of the Berlin Fire Brigade in the Kcipernickerstrasse.That day r,oo4 oil paintings and y8z5 works on paper were incinerated.l8 Like the mass book burnings of May 1933,this acr points to the deep fear of art and intellect that was built into National Socialism-fear of the madnessof political protest, fear of degeneration to the weaknessof compassion, fear of moral decline to a state of human decenry. Before sale and destruction, however, two additional traveling shows of degenerateart were organized inlate 1937,the Great Anti-Bolshevist Exhibition, and The Eternal Jew.leAnd Entartete Kunst itself went on tour, adding over r.2 million people to its total attendance. In Berlin, the exhibition opened at the Haus der Kunst in February 1938. It then traveled to eleven other cities around the Reich through the

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DISPLACEMENTOF THE AVANT.GARDE Hamburg'Frankfurtam Main, Salzburg, springof r94r, including Leipzig,Di.isseldorf, manwaitedin line to seeworla_by a young inHamb,rrg, and fie.rna.ro On a grayday he disold friendswho hadvisited his parents'CologneaPartmentyearsbefore,and 'Woman"Insults to German covereda painting by his father in the sectionentitled hung beweenworksby Kirchner and hood." Max Ernst'sTheBeautifulGardznerwas line manytimesthat day.After waiting rejoin the Dix, and to seeit Jimmy Ernstwould his last viewing a man approachedto askwhy he wasso interestedin the exhibition, Germanyat any cost.2l and in fearand confusionhe resolvedto escapâ&#x201A;Ź of his flight from Europe,Jimmy Ernst becamea central As a consequence activiryfrom the old world to the witnessto the shift in critical massof avant-garde spentwith his fatherin Surrelater time Dada and in Cologne new From a childhood alist Paris,he movedto a New York fastbecomingthe centralrefugefor the advanced to PegryGuggenheim,he would-parartistsof Europe.As a young artist and assistant in Hamburg Fromhis exPerience ticipatein the birth of the first postwaravant-garde. world art watched Ernst to his time tending the deskat Art of This Century Jimmy new pnase. entera More than any other institution, PeggyGuggenheimtmuseum-galleryfut this transition.Her openingexhibitionin Octoberr94z of This Century encapsulates and in the next fiveyearsshewould displayedmasterpieceiof the prewaravant-garde, to gi ri their first one-personexhibitions JacksonPollock,Hans Hofmann, \flilliam Baziotes,RobertMotherwell,Mark Rothko,Clyfford Still,and RichardPousette-Dart. painting had begunin I-ondonat the oursetof rg38,with Her supportof progressive the opining of her hrst gallery GuggenheimJeune.Theresheexhibitedwork by the majoi Surrialistsalong with advancedabstraction,and thereshedecidedto createa museumof nonrealistLtwentieth-cenuryart. rVhile Guggenheimhad lured Herbert Readawayfrom the BurlingtonMagazinewitha6ve-yearconuact,the Europeanpolitical situationwaslessthan propitiousfor the foundingof a new museum,and the plan was abandoned.But shekept Readt list of what sucha museumshouldcontain,and a collectionbased in France,as the Germansapproached,shecontinuedto assemble on his suggestions. PegryGuggenheimarrivedbackin New Yorkon July 14,r94r,raveling with Max Ernst,io *horn shewould be marriedin December.Shealsoarrangedtravelfor Andri Breton,whoseVilla Air-Bel outsideof Marseilleshad beenhost to many of the artistsgatheredin the south awaitingexit visasfrom VarianFry and his Emergency Rescu. Committee. By diverseroutesmany membersof the Europeanavant-garde could not but signi6in New York during the war, and their presence would assemble candy affect the indigenousartists.New York, of course,was not unfamiliar with advancedEuropeanart, having seenits full rangeand depth at the galleriesand in Alfred Barr,Jr.'sexhibitionsat the Museum of Modern Art. EvenPicassotlegendary Guernicahad been shown at Kun Valentine'sgallery in 1919.But actually to seeand speakwith such artistsas Mondrian, llger, Ernst, and Duchampwasc-riticalto the of the Americans,and much of this interacdevelopmentand growingself-confidence tion occurredwithin the orbit of PegglrGuggenheim. her museumin San Although Guggenheimseriouslyconsideredestablishing Franciscoor New Orleansratherthan NewYork, by earlyry42shehad decidedto con\West vert to her purposestwo former tailor shopson the 7th foor of z8-3o 57thStreet. Pegry had introduced who California dealer a former Putzel, of Howard On the advice shehired Frederto Max Ernst while showingher aroundParisianstudiosin 1918-19, ick Kieslerto designher new space.It wasa brilliant selection,for Kieslertinnovative plan brought immediatenotoriety to Art of This Century and set a tone of radical experimentationsurroundingthe new gallerytacdvity.

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DISPLACEMENTOF THE AVANT-GARDE

Pages4o-r font Andre Bretons s1'5rr' camhgueof FirstP,lppr5 "com peusati on reaIism, shotui ng portraits" of Mana and of ,)Ia,: Ernst. Two workspainted that 'bf' lear are reproduced: .llono The Earth is a Nlan; (right) frzsr. Surrealism and Painting (t942). TheErnst wasmarkedbt, "centra/ canuas" Newsweekasthe of the exhibition.New York,Coordinating Council of French ReliefSocieties, Inc., 1942.Offet, printed in bkch, eachpage:rot/: x 7% in. TheMuseumof Modern Arr Library, SpecialCollection. New Yorh timed to go on and offevery fwo seconds,illuminating one side of the gallery and then "like your blood."2' -While certainly surreal, the the other, pulsating, as Kiesler said, for most, and Putzel later convinced Peggr to allow continueffect was too disruptive ous illumination. The last space-devoted to changing exhibitions-faced 57th Street, and was illumined by daylight diffused through a screenof ninon, a chiffonlike material commonly used for lingerie. It also firnctioned as a room for browsing among minor works from thecollection, where visitors could sit on folding stools and look through open storage bins of framed pieces. Another sort of seating was provided in the Abstract and Surrealist galleries, a feature welcomed by reviewers. Kiesler had designed a biomorphic muldfunctional piece that could sâ&#x201A;Źrve as a chair, lectern, coffee "correalist tools" table, pedestal, sofa, and hat rack. Variously oriented, one of these could be found supporting a tired visitor, while Giacometti's Woman with Her Throat Cut crawled acrossanother.23 Altogether, the design of Art of This Century exemplified Kieslert developing conception of architectural space as fuid and organically related to the activiry within, ideas that achieved their visionary height in his EndlessHouseof ry49-59']Virh sculpture and framelesspaintings on variable supports to be adjusted for optimal viewing, and rooms designed to evoke the mood of the work displayed, Kieslert goal, as "dissolve the barrier and stated in his unpublished notes on the gallery design, was to 'environment,' 'realiry,' 'image' . . . fwhere] there and artificial dualiry of vision and are no frames or borders between art, space,life. In eliminating the frame, the sPectator recognizeshis act ofseeing, or receiving, as a particiPation in the creative processno lessessentialand direct than the artistt own."2a It was natural for Kiesler to evoke his friend Duchampt notion of the viewer completing the work, for Duchamp arrived in New York in the midst of the project in June ry42, and stayed with the Kieslers until October. Peggy hoped to have the opening of fut of This Century coincide with the publication of the catalogue of her collection designed by Breton, but planning and

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D I S P L A C E M E N TO F T H E A V A N T - G A R D E

Installztion uiew ofFira Papersof Sunealism,IVhitekw ReidMansion, 45r Madison Auenue,New York, October-Nouemberr942, with hanging by Andrl Breton and twine hy Marcel Duchamp. The challengeto clear uiewing wastahenhy Haniet and Sidney Janis n representthe dfficuby of understandingmodernart, but critic Robert Coatessaw ir rc embodyonce-feshidzasndiously wound bach and forth. Photograph hyJohn Schiff

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DISPLACEMENT

OF THE

AVANT.GARDE

drawings.36 'With

some knowledge of Surrealism and its automatic techniques, then, American artists found themselvesfrequenting Art of This Century.37Howard Putzel succeededJimmy Ernst as Peggys assistantin ry41, and he worked hard to interest her in the young Americans. After Matta brought Guggenheim to Pollockt studio, Putzel encouraged her reluctant acceptanceof his work, eventuating in the large mural commission for Peggy's apartment and his first exhibition at Art of This Century in November r94?,. Amerlcan artists-including Hare, Baziotes, Pollock, Motherwell, and Ad Reinhardt-began to be shown in force earlier that year, in Peggyt collage show and in her Spring Salon, and they soon dominated the specialexhibitions at the gallery. The spring after Pollockt first show, Peggy mounted Hans Hofmann's initial American exhibition, and in the gre t r944-4j seasonshe held the first exhibitions of Baziotes, Motherwell, and Mark Rothko.38 Against a backdrop of the achievements of European Modernism, Peggy presented to the public some of the most important members of the future New York School. Although the inertia of avant-garde activity had shifted acrossthe Atlantic, more than a few exhibitions were needed to create a viable center of advanced aft. A community of artists was constituting itselfl and along with postwar prosperiry a germinal market was forming. The late forties in New York witnessedmore shows by the young American abstract painters and less by the Surrealists,whose last hurrah was the undulating Kiesler installation of Nicholas Cal,as'st947 group exhibition, Bloodfames. That year PeggyclosedArt of This Century and Pollock was taken on by Betry Parsons,in whose gallery he introduced his poured paintings in January 1948. Four 'Willem months later the long-awaited first exhibition of de Kooning was held at the Egan Gallery. But it would take a few more yearsfor the extendedNew York School to show itselfin exhibition, at an old storefront on 9th Street.

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NOTES " tichau, EntarteteKuul Munich, 1937: A Reconstrucdon,"in Barron, pp. 4t-8r. This mrterful piece of reserch includes complete photographicdocumentation,and a painting-by-painting/text-by-text reconstructionof the exhibition. rr. Seecontrastingphotographsofthe Dada wall in Barron,p. y5. rz. For an account of the controversies,focusing on The Tiench,see "The 'Golden Dennis Crockett, Most FamousPainting of the Twenties'?"Art Joumal"Spring1992,pp. 7z-8o. ry. Bzrron, p. 376. r4. Von Ltittichau, p. 45. r5.Barron,pp. 386-388. 16. Reviewin Der Riihr-Arbeiter,luly zo, 1937,cited in Dunlop, p. 253. t7.To cite just two examples:Van Gogh's1988self-portraitnow in the FoggMuseum at Haruard wasacquiredby Alfred Frmkfurter, publisher of Art Neus, for New York collectorMaurice Venheim, and Matisset Bathersuith a Tilrtle now in the St. Louis fut Museum wm purchmed by PierreMatissefor JosephPulitrer,Jr. For accountsof the activity of German dealersin disposingofconfiscatedart, and ofthe GalerieFis"On cher auction, seeAndreasHiineke, the Tiail of Missing Masterpieces:Modern Art from German Galleries,"and StephanieBarron, "The GalerieFischerAuction," both in Barron, pp. tzr-t69. "'Degenerate 18.Georg Bussman, fui-A look at a Useful Myth," in C.M. Joachimides,N. Rosentha.l,and \Wi Schmied, GerrnanArt in the 2oth Century:Paining and SculptureryoS-t985(Munich md London: PrestelVerlagand the RoyalAademy ofArts, 1985),p. rzr, nises doubts about whetherthe confiscatedart actuallvwasburned. but most sources 6sert this s unequivocalfact. "t917: 19. StephanieBxron, Modern Art and Politics in PrewarGermany," in Barron,p. r5. "An zo. For detailson the exhibitiont travels,seeChristoph Zuschlag, 'Educational " Exhibition,' in Barron, pp. 9c_+)j,roz-ro3. z,r.Jimmy Ernst, ,4 Not-So-StillZry' (New York: St. Martin's/Marek, t98Q, pp. 94-96. "The zz. Cynthia Goodman, Art of Revolutionary Display Techniques," in Lisa Phillips, ed., FrederickKiesler(New York 'Vhitney Museum ofAmerimn Art, ry8), p. 65. 23.In a Septemberry39 articlein ArchiteauralRecord,Kieslerdefinedhis "correalism' "an conceptof m investigationinto the laws of the interrelationshipsof natura.l and man-made organisms." Cited in Lisa "fuchitect Phillips, of EndlessInnovation," in Phillips,p. 24. "Notes 24. FrederickKiesler, on Designingthe Gallery', 1942,cited in "Environmental Lisa Phillips, Artist," in Phillips,p. rr4. 25.PeggyGuggenheim, Out of this Century: Confesionsof an Art Addict (London: Andrd Deutsch, ry7il, p. 273. In addition to Guggenheim and Schiaparelli,the cataloguelisted m sponsorsof the exhibition Sidney Janis,Mr and Mrs. rValterArensberg,Mr. and Mrs. Robert Allerton Parker, Marian Villard, Katherine Dreier, Mrs. George Henry 'Warren, PierreMatisse,PrincessGourielli, Thomas F. Howard, Mr. and Mrs. John Latouche, Mary Jane Gold, Bernard Reis, James John Sweeney, John Barrett,and IsabelleKent. 26. Rudi Blesh, Mofurn Art U.S.A.: Men, Rebellion,Conquest,r900-r9t0 (New York: Alfred A. fnopf, 1116),p. zoo. 'Vriting only thrce ycars after the exhibition, Harriet and SidneyJanis,who werecloselyinvolved

in its preparation,saythat threemiles ofstring wereused.Perhaps.srnce therewerethreerooms,a mile wx usedin each.SeeHarrier md Sidner' "Marcel Duchamp: Anti-Artist," in Roben Motheruell. ed.. I/,r Janis, Dadz Paintersand Poets(Cmbridge, MA: Harvrd Universin' Press. 1988),p. 3o7. 27. Mxrel Jeen, The Autobiograpltltof Sunealism(New York: \'ikinq. "The .\n ry8o),p. 4o3.Harriet and SidneyJmis, p. 3o7.Robert Coates, Galleries,SixteenMiles of String," TheNew Yorker,October lr, r942. p. the opening ofArt ofThis Century and Tz.Here Coatesalsodiscusses in both installationsprefersthe older,more clmsicwork. In eachexhibition he singlesout earlyde Chiricosfor praise,though he alsolikesmore "lmdmark recentworls by Matta, Mmson, and Ernst. Among the of the teensmd twenties"at Art of This Century he mentionsMezingcr s The Cyclist,Gris's Boxle of Martinique Rum, and Piabia's Infant Carburetor,In a recentessay, BenjaminBuchloh hm suggested that Duchamps room of coal sacls at the 1938Parisexhibition md his installation of First Papersare commentarieson the obsoletenature both of painting itself and of the retosoectivex an exhibition form. SeeA.A. Bronson and PeggyGa.le,eds.,Mu:eumsbyArdsrs(Toronto:Art Metropole,1983), p'46' ,g."AvgoniredHumor," Neusweeh, October 26, ry42, p.76. 29. Interviewwith Carroll Janis,Decemberzr, I99o. 3o. Ernst, p. 234. 3t. Neu Yorh TimesMagazine, November y t94z; Newsweek,November z, 1942,p. 66. \Weld, 12.New York Times,October 25,1942,p. x9; JacquelineBograd Pegy, The W'aywad Gugnhdz (New York E.P Dunon, ry86), p. z9o. For somecontext,this issueof the New YorhTimesbegan with the head"Allies line Gain in Big North African Offensive," and included an accountof a protest by the Municipal Arts Societyover the Brooklyn Museum'ssymbolic deaccession of two doren Japmeseswords,scabbards,and hand guardsfor scrapmetal to help the war effort. 33.Interuiewwith John Cage, November29, r99o. "The Cycloptic Eye, Pataphysicsand the Possible: 34. Martiu Sawin, Tiansformationsof Surrealism,"in Paul Schimmel, ed. TheInterpreriue Linh: AbstractSunealisminto Abstact Expresionism(Newport Beach. CA: Newport Harbor Art Museum, 1986),pp. 39-40. 35.Dore Ashton,

"Crisis

and PerpetualResolution,"in Schimmel,p. rr.

36. On the lecture series,see Sawin, pp. 37-j8, and Ining Sandler. "Dada, Surreaiismand Their Heritage: z. The SurrealistEmigres in New York," in Anfomm, May t968, pp. z5-26. On the exhibitions.see "Howard Melvin P Lader, Putrel: Proponent of Surrealismand L-arll AbstractExpressionism in America,"Arts, March 1982,p. 89. 37, Their experimentationsince r94o involved dripping and ssirlins quick-drying lacquer, including sessionsin the bxemenr oi Pees\. uncle Solomont Museum of Non-ObjectiveArt, whereartisr-emplolecs dissolvedthe clssical recordsthat Hilda Rebayplaved in the sallerics. "'The Third Man,' or Automatism .{nreritan See Martica Sawin, Style,"ArtJoumal a7,Fill 1988,pp. r8r-r84,for theseearlvexpenmenrs of Pollock,Kamrowski,Baziotes,Jimm1.Ernst.and orhers. 38.For a completelist of exhibitionsat An of This Centun. see\lehin P lader md Fred Licht, PeggltGugenheim'sOther Legdo t\err \brk: SolomonR GuggenheimMuseum,1987),p. l-. ,{lthough Purzelleh the ga1lerybefore the showsof Bziotes, Motheniell, and Rorhko. he wm instrumental in bringing on the anists, and he reponedlv oilered

265

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