Word: directors
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Dates: during 1930-1939
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Attempts to treat the diversity of contemporary arts had been made before at the Bauhaus in Germany, but they were fancy business in America in 1929. No zealot, Director Barr concentrated on paintings, the main interest of such trustees as Samuel A. Lewisohn and Stephen C. Clark, and bided his time. He got a secretary and five small exhibition rooms in a Fifth Avenue office building. The trustees met for the first time in October, armed with pledges for $200,000. In November the Museum of Modern Art opened its doors with an exhibition of Lillie Bliss's fine...
Thus a bold onset was followed by adroit changes of pace. Director Barr, whose fragile look is deceptive, stopped short at no dilettantism, worked like hell. Stage designing, posters, industrial design, children's art illustration and many an-other branch of art came in for special exhibitions, each worked up by the Museum's characteristic method: thorough research, orderly classification of the work shown, equal respect for every experimental artist whether probably great or palpably minor, explanatory notes for the public. Not all the Museum's shows have been revelations, some have been merely precious...
...became a galaxy of the enlightened rich. Greatest of many gifts were the Bliss collection of modern French paintings, a bequest for which the Museum raised an endowment of more than $600,000 in 1934, and Mrs. Rockefeller's collection in 1935. The Museum acquired an energetic executive director, Thomas Dabney Mabry Jr., an able assistant curator of painting & sculpture, Dorothy Miller, a learned manager of publications, Frances Collins, to edit its unexpectedly successful books. In 1935 the Film Library was created under bright-eyed Iris Barry and her husband, John Abbott, received a Rockefeller Foundation grant...
...What? Director Barr spent his spare time last week warning himself against the perils of Bigness and Popularity. So far the Museum has amply proved its intellectual honesty, to the dinner-table discomfiture of certain conservative trustees. Director Barr is delighted and others are somewhat surprised that the trustees have supported him so well...
Mother's Son. When, in speaking of art, Nelson Rockefeller's tongue slips and he says "geology" for "morphology," he says he wishes he could get the oil business out of his head for a minute. He is director of Creole Petroleum Corp., a subsidiary of Standard Oil of New Jersey with properties in Venezuela. He is also (since a year ago) prince and president of the huge landlording enterprise of Rockefeller Center. Nelson's actual function in both offices is under reasonable public suspicion, but it is, increasingly, that of director and president indeed...