new-york

Arthur Dove

Dintenfass Gallery

The Arthur Dove collages, which are largely concentrated in the 1920s, allude to curious and important historical problems. As a painter, Dove is associated with the tradition of landscape, which seeks to find signs or other visual equivalents for the landscape experience. In this desire Dove can be associated, say, with early Georgia O’Keeffe and that first phase of William Zorach’s career which he spent as a painter. In short, their landscape painting derives from aspects of Futurist theory. Remember, it was the Futurist who sought “unique forms” and “dynamic hieroglyphs.”

But, Dove’s collages put forth another aspect of American modernism, that strain of Dadaism which was fostered in the circle of Stieglitz, with whom Dove exhibited to the closing of An American Place, as Stieglitz’s gallery of the 1930s was called. (Although Stieglitz’s antipathy to Dadaist art and Dadaist

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