Archives Scrapbooks

This image displays a yellowed, aged newspaper clipping from the Boston Herald, dated May 1, 1941. The clipping is mounted or preserved on a sheet of brown paper, with two punch holes visible along the left edge, suggesting it was filed in a binder. A small handwritten notation, "JY", appears in the upper right corner of the brown paper.

The headline of the article reads:
"Boston’s Institute of Modern Art Conquers 'Grandfather-it-is' by New, Daring Policies"

The article, written by Lawrence Dame, chronicles the transformation and controversial rise of Boston’s Institute of Modern Art under the leadership of director Mr. Paul F. Plaut.

Here’s a breakdown of the article’s key points:

• Controversial Change: The institute, previously known as conservative (or "grandfather-ish"), has undergone a radical shift in policy since Plaut took over. It now showcases challenging modernist works, including pieces by Gauguin and Picasso, and has attracted criticism from “stuffy old-birds” and “shocked” Bostonians.
• Location: The institute moved to a new home at 219 Beacon Street, a building described as “shockingly grand” and “too conspicuous.”
• Historical Context: The article notes that while modern art was once considered “mild stuff,” Boston’s art scene has lagged behind other cities. The institute’s new direction is seen as a bold move to bring the city into the modern art conversation.
• Pioneering Move: Plaut and his associate Nathaniel Saltonstall organized the first major exhibition of “Modern Art in the Fall of 1938” at the Institute, which included works by Picasso, Gauguin, and others. The article notes that while Boston had a “modest” art scene, modernist voices were suppressed until now.
• Financial and Institutional Support: The article discusses the institute’s financial model, including a $20,000 budget, membership drives, and donations such as a “donated home” from Mrs. Joel Goodnaw. Plaut’s vision includes expanding the institute into a larger gallery space in the future.
• Public Reaction: The article quotes local critics and citizens, describing their shock and dismay at the “newfangled” exhibitions, particularly works deemed “obscene,” “ugly,” or “distasteful." Despite this, Plaut believes Boston’s audience will eventually come around.
• Future Goals: The institute aspires to become a “museum of modern art,” potentially rivaling institutions like the Museum of Fine Arts or the Museum of Modern Art in New York.

At the bottom left, a stamp from the “Press Clipping Service” at 2 Park Square, Boston, Mass. confirms it was professionally clipped and preserved.

Overall Impression:
This clipping captures a pivotal moment in Boston’s cultural history — the city’s hesitant, often resistant, embrace of modernism in the arts. The tone is journalistic but slightly humorous, highlighting the tension between tradition and progress, as seen in the headline’s playful use of “Grandfather-it-is.”

It’s a valuable historical document, providing insight into early 20th-century American attitudes toward modern art, institutional change, and regional cultural development.

The image appears to be a scanned copy of an old newspaper clipping. The clipping is titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" and is by Lawrence Dame. It discusses the Boston Museum of Modern Art, its founding, and its mission to promote modern art. The article mentions the museum's innovative policies and its efforts to challenge traditional art views. It also discusses the reactions of the public and the museum's influence on the art scene in Boston. The clipping includes a section titled "Picked Able Director" referencing Mr. Plaut, the director of the museum. The article is dated May 16, 1941, as indicated at the bottom of the clipping. The paper itself looks aged, with some wear and tear, and there are small holes on the left side of the paper, likely from the binding of an old newspaper or magazine.

This image appears to be a newspaper clipping on a piece of brown paper, likely from a scrapbook or archive. The clipping is from a newspaper article titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" written by Lawrence Dame. The article discusses the Boston Museum of Modern Art and its efforts to overcome traditional and outdated approaches to art by adopting new and bold policies. It mentions the museum's director, Mr. Plaut, and his innovative strategies to promote modern art.

The article is divided into several sections with subheadings such as "Picked Able Director," "End of an Era," "Pioneered Move," "Created Stir," and "Donated Home." It covers various topics including the museum's exhibitions, fundraising events, and the support it has received from the community.

At the bottom of the clipping, there is a label from a press clipping service located at 2 Park Square, Boston, Mass. The date on the label is May 16, 1941. The brown paper on which the clipping is mounted has some wear and tear, including a hole on the left side.

The image shows a newspaper clipping from the Boston Herald, dated May 16, 1941. The headline reads "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies." The article discusses the efforts of the Institute of Modern Art to revitalize its image and programming, moving away from traditional and conservative approaches to embrace more contemporary and daring artistic expressions.

The article highlights several key points about the Institute's new direction:

1. The Institute has recently won a lawsuit against the Boston Board of Fire Underwriters, allowing it to display works of art without being subject to strict fire safety regulations. This victory has enabled the Institute to showcase a wider range of artistic mediums, including sculptures and other three-dimensional works.

2. The Institute has appointed a new director, Mr. Plaut, who has brought fresh ideas and a more adventurous spirit to the institution. Under his leadership, the Institute has organized exhibitions that challenge conventional notions of art and have attracted significant attention and controversy.

3. One notable exhibition featured a show of surrealist and fantastic art, which included works by artists like Salvador Dalí and Max Ernst. This exhibition aimed to push the boundaries of what is considered acceptable or "artistic" and sparked debates about the role and purpose of modern art.

4. The Institute has also focused on creating a more engaging and interactive experience for visitors, with features like a "gag-gun" that shoots cotton balls at visitors and a "Pogs" French master's gallery where visitors can interact with reproductions of famous artworks.

5. The article notes that the Institute's new approach has been met with both praise and criticism. Some critics argue that the Institute's focus on sensationalism and controversy has overshadowed the quality of the art on display. However, supporters praise the Institute's willingness to take risks and push the boundaries of what is considered acceptable in the art world.

Overall, the article portrays the Institute of Modern Art as an institution in transition, grappling with the challenges of modernizing its image and programming while navigating the complexities of the evolving art world. The Institute's new, daring policies have sparked both excitement and controversy, reflecting the broader debates about the role and purpose of modern art in the early 20th century.

This is a clipping from the Boston Herald, dated May 16, 1931. The headline reads "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies." The clipping features a photograph of the Institute of Modern Art, showing a building with a brick facade and a modern architectural style. The caption reads "Boston's Institute of Modern Art, a modern building in the city's Back Bay district." The article discusses the Institute's efforts to promote modern art and challenge traditional attitudes towards art.

The image depicts a scanned newspaper clipping from the Boston Herald, dated May 16, 1941. The clipping is titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" and is attributed to Lawrence Dame. The article discusses the evolution and transformation of the Boston Institute of Modern Art, highlighting its efforts to overcome conservatism and embrace modern art.

Key Elements in the Image:

Header Information:

• Title: "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies"
• Byline: Lawrence Dame
• Source: Boston Herald
• Date: May 16, 1941
• Location: Press Clipping Service, 2 Park Square, Boston, Mass.

Content Overview:

The article focuses on the Boston Institute of Modern Art, a museum that has undergone significant changes under the leadership of its director, James S. Plaut. The institute is described as having shifted from a traditional, conservative approach to one that embraces modern and avant-garde art. Key points include:

1. Shift in Focus:

   • The institute has moved away from traditional art forms (e.g., sculpture, painting) and now focuses on modern art, including surrealism, abstraction, and other contemporary movements.
   • The museum has attracted a younger, more progressive audience, which has led to increased attendance and interest.

2. Exhibitions and Policies:

   • The institute has hosted exhibitions of modern artists, including surrealists and abstract painters.
   • The museum has adopted a bold approach, challenging societal norms and expectations about art.
   • It has embraced controversial and innovative works, which have sparked debate and discussion.

3. Director’s Role:

   • James S. Plaut is highlighted as the driving force behind the institute's transformation. His leadership has been instrumental in steering the museum toward modernity.
   • The article notes that Plaut has been instrumental in organizing exhibitions, securing funding, and attracting new audiences.

4. Public Reaction:

   • The institute has faced criticism from traditionalists who view modern art as "too radical" or "un-American."
   • However, it has also gained support from younger generations and art enthusiasts who appreciate its bold vision.

5. Financial and Operational Changes:

   • The institute has had to navigate financial challenges, including fundraising and securing loans.
   • It has relied on donations, including from notable figures such as Mrs. John Goldwater, to support its operations and exhibitions.

6. Future Plans:

   • The article mentions plans for future exhibitions and the institute’s commitment to continuing its mission of promoting modern art.
   • There is a sense of optimism about the institute’s potential to become a leading institution in the modern art world.

Visual Layout:

• The clipping is presented on a single page with a clean, typed layout typical of newspaper articles from the early 20th century.
• The text is organized into paragraphs, with subheadings and quotes interspersed throughout.
• The article is accompanied by a small, faint logo or stamp in the bottom left corner, indicating it is part of a press clipping service.

Contextual Clues:

• The article reflects the cultural and artistic climate of the early 1940s, a time when modern art was gaining traction but still faced resistance from more conservative segments of society.
• The institute’s efforts to embrace modern art align with broader trends in the art world during this period, as artists and institutions began to challenge traditional norms and explore new forms of expression.

Summary:

The image is a historical newspaper clipping that captures a pivotal moment in the evolution of the Boston Institute of Modern Art. It highlights the institute’s bold shift toward modern and avant-garde art under the leadership of James S. Plaut, detailing its exhibitions, public reception, financial strategies, and future aspirations. The article provides insight into the cultural dynamics of the early 1940s and the challenges faced by institutions seeking to embrace contemporary art.

This image appears to be a newspaper clipping affixed to a scrapbook or backing page. It is titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies", authored by Lawrence Dame. The article discusses the innovative and modern policies adopted by the Boston Institute of Modern Art (now the Institute of Contemporary Art, ICA), emphasizing its departure from traditional norms and its embrace of progressive approaches in modern art.

The text is dense, consisting of several tightly packed columns covering detailed observations, historical context, and relevant mentions of figures, exhibitions, and changes brought by the Institute. A small label at the bottom center contains the text: "Press Clipping Service, 2 Park Square, Boston, Mass. Herald, Boston, Mass. May 18, 1944." This label indicates the clipping was preserved as part of a collection or service intended for archiving press content.

The page also has visible holes on the left margin, suggesting it was placed in a binder or scrapbook for safekeeping. The edges of the paper show signs of aging, with minor discoloration and slight tearing, typical of older documents.

The image shows a vintage newspaper clipping mounted on a brown sheet. It’s a multi-column article with a large bold headline: “Boston’s Institute of Modern Art Conquers ‘Grandfather-itis’ by New, Daring Policies,” written by Lawrence Dame. The text is in dense small print across several narrow columns. At the bottom left there’s a small label from a “Press Clipping Service” that reads something like “2 Park Square, Boston, Mass. Herald, Boston, Mass. MAY 16 1941.” The clipping appears old and slightly torn at the top with two binder holes along the left edge, indicating it was once stored in a binder. The overall tone is sepia-toned archival ephemera.

This image is of a newspaper article affixed to a brown backing paper. The header of the article reads "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies," followed by the byline "By LAWRENCE DAME." This suggests that the article is discussing how the Institute of Modern Art in Boston has adopted new and bold strategies to renew interest and challenge traditional views.

The date stamp from "Press Clipping Service" indicates the article is from the "Herald" in Boston, Massachusetts, and is dated "May 16 1941." There's a small icon or logo in the upper right corner, but it's not clearly legible.

The article itself is lengthy and covers various topics related to the Institute of Modern Art's approach to modernism and contemporary art practices. There are mentions of specific exhibitions, artists, and policies that illustrate the institute's efforts to redefine its identity and role within the art world.

The paper seems to have become fragile and worn over time, with creases, tears, and holes indicating age and handling. There's also some discoloration, which is common in old documents. The document has been punched with holes on the left margin, likely for placement in a binder or file.

The image shows an old newspaper clipping mounted on a larger brown backing sheet. The clipping is an article titled "Boston's Institute of Modern Art Conquers 'Grandfather-itis' by New, Daring Policies" written by Lawrence Dame. The article discusses the evolution and impact of Boston's Institute of Modern Art, its innovative policies, and its place in the modern art world. There are multiple columns of dense text covering various aspects of the institute, including its history, challenges, exhibitions, staff, and public reception.

Below the main article, a small label reads:
"Press Clipping Service
2 Park Square, Boston, Mass.
Herald
Boston, Mass.
MAY 16 1941."

The paper is aged, yellowed, and shows signs of wear, such as two punched holes on the left side and a small tear on the upper left corner. The article is arranged carefully on the page with some smaller paragraphs or sub-sections physically cut and pasted into position. The overall look is of a carefully saved historical document or scrapbook page preserving a notable media article about modern art developments in Boston around 1941.