Revisited Online: May 26, 2020 – Ongoing
Organized by Rory Padeken, associate curator


Casey Nelson Blake, ed., The Armory Show at 100: Modernism and Revolution (New York: New York Historical Society, 2013).


E. Bradford Burns, Kinship with the Land: Regionalist Thought in Iowa, 1894‒1942 (Iowa City: University of Iowa Press, 1996).


James M. Dennis, Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry (Madison: University of Wisconsin Press, 1998).


Helen Langa, Radical Art: Printmaking and the Left in 1930s New York (Berkeley: University of California Press, 2004).


Elizabeth Lunday, Modern Art Invasion: Picasso, Duchamp, and the 1913 Armory Show (Guilford, CT: Lyons Press, 2013).


Sharon Ann Musher, Democratic Art: The New Deal’s Influence on American Culture (Chicago: University of Chicago Press, 2015).


Francis V. O’Connor, Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project (Boston: New York Graphic Society, 1975).


Bennard B. Perlman, Painters of the Ashcan School: The Immortal Eight (Dover, NY: Dover Publications, Inc., 1979).


Clare Scarborough and Carmen Vendelin, ed., American Scenes: WPA-Era Prints from the 1930s and 1940s (La Salle, PA: La Salle University Art Museum, 2014).


Edith Tonelli, “The Avant-Garde in Boston: The Experiment of the WPA Federal Art Project,” Archives of American Art Journal: A Retrospective Selection of Articles vol. 30, no. 1 (1990): 41‒47.


John Franklin White, ed., Art in Action: American Art Centers and the New Deal (Metuchen, NJ: The Scarecrow Press, 1987).


Rebecca Zurier, Picturing the City: Urban Vision and the Ashcan School (Berkeley: University of California Press, 2006).