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Although Mina Loy consorted with nearly every historical avant-garde movement, she was contained by none and is rarely mentioned in their histories. She’s not alone in this regard. Canonical histories and theories of the avant-garde typically marginalize the work of women, people of color, queer, and disabled artists. Despite significant efforts to articulate the importance of gender, sexuality, and race to the avant-garde, scholars have yet to offer a comprehensive theory of the avant-garde that accounts for the experiences of marginalized artists who were often ambivalent about claiming affiliation with white, male-dominated movements.
This article is part of a special series on the Visualities blog exploring digital archives connected to modernism’s visual cultures. Over the next few months, contributors to the forum will introduce and model the uses of online resources spanning art, film, media, book history, print cultures, and more.
For their final writing assignment in a course on contemporary art, my students were required to analyze a single artwork from the last sixty or so years. The point was to encourage them to apply the theories of visuality that we’d studied throughout the quarter, and the assignment had one nonnegotiable stipulation: the artwork must be accessible somewhere in Chicago, where our class was held.
Glass tears do not leave a trace. In Man Ray’s photograph, Les Larmes de Verre (Glass Tears) (1932), they rest on the model’s cheekbones—hard, cold drops, threatening to fall (fig. 1). The tears are too smooth, too round, too still. If the tears were to slide off her face, they would scatter like tiny marbles across the studio floor.
Critical and creative engagements with modernism's cultures, objects, and problems of sight.