Index of Modernist Magazines

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Mar 20 2016

ADAM

Facts

Title:
Adam: International Review. 

Date of Publication: 
Founded in 1929 in Bucharest and published in London from September 1941–1995.

Place(s) of Publication:
Bucharest, Romania (1929-1941); London, England (1941-2, 1945-89)

Frequency of Publication: 
Irregular, but announced as monthly between 1941 – 42, and after a wartime interruption, 1945 – 66.  Quarterly from 1966 – 1995.

Circulation:
~1,000

Publisher: 
St. Clements Press, London NW 11; Emperor’s Gate, London SW 7

Physical Description: 
33 cm

Editor(s): 
Miron Grindea

Associate Editor(s):
None

Libraries with Original Issues: 
Bodleian Library; British Museum; Cambridge University Library; King’s College London; National Library of Scotland, Edinburgh; Trinity College Library; University of London Library

Reprint Editions: 
None

Description

Adam – acronymic for Arts, Drama, Architecture, and Music – was an international review published in English and French. The original periodical began in Bucharest in 1929. In 1938 the magazine fell into the hands of editor Miron Grindea, who published the first London edition in 1941. The review had many famous contributors, including Pablo Picasso, Tristan Tzara, Jean Cocteau, and E.M. Forster.

Adam published pieces ranging from poetry to manuscripts to letters, such as the unpublished childhood memoir reproductions of Virginia Woolf’s early attempts at writing. The magazine also had issues devoted to individual artists, such as Baudelaire, Dickens, Beethoven, and Chopin. Adam published several contributions in French, including Grindea’s editorial introduction to the Graham Green tribute titled: “A la Recherche de Graham Greene.” The review regularly had about 1000 subscribers, and published its last issue in 1994 – over 50 years after its first English number.

Adam was one of the longest running little magazines: Alvin Sullivan attributes Adam’s longevity to the magazine’s “diversity of material”; Cyril Connolly who claims he knew “of only three magazines which survive unaltered from the ‘thirties: Partisan Review, The Wine and Food Quarterly and Miron Grindea’s indestructible Adam” (qtd. in “Adam” 4). In the 200th issue of Adam, Miron Grindea quoted T. S. Eliot’s commentary on The Criterion from July 1938 in his own defense of the little magazine: “so far as culture depends upon periodicals, it depends upon periodicals which exist as a means of communication between cultivated people, and not as a commercial enterprise: it depends upon periodicals which do not make profit” (qtd. in “Adam” 5).

Gallery

Manifesto

Adam did not publish a manifesto, perhaps because its editor, Miron Grindea, wanted to let its content speak for itself. The periodical did have a consistent devotion to offering a diversity of works, serving as an outlet for international artistic conversation, and forfeiting commercial popularity for the deliverance of high quality avant-garde art and writing.

Editors

Miron Grindea (Jan. 31, 1909 – Nov. 18, 1995)
Editor: 1941 – 1995

Miron Grindea, the editor of Adam, frequented avant-garde circles in pre-World War II Paris. He moved to Britain in September of 1939, the month that World War II was declared. He was married to the pianist Carola Grindea, and the couple had friendships with prominent artists such as Eugene Ionesco and Jean Cocteau. Thanks to Grindea’s relationships with celebrity artists, Adam was able to publish the works of writers like T.S. Eliot. When he died, he was working on the 500th edition of the magazine.

Contributors

Nicholas Bentley
Cover design (No. 400)

P. Bien
“A Hartley Biography”

T.S. Eliot  
“Reflections on the Unity of European Culture” (No. 158)
“The Amis of Poetic Drama” (No. 200)
“Rhapsody on a Windy Night”
“The Hollow Men”
“A Song for Simeon”

Bernard Kaps
Wrote a drama of Ezra Pound’s despair after his imprisonment in 1945

D. Day Lewis
“The Watching Post”

Charles Moncheur
Published French translations of T.S. Eliot poems, including:

Raymond Mortimer
Issue celebrating Beethoven’s centenary

Jeremy Reed
“The Ides of March”

Ronald Searle
Cover design (No. 200)

Bibliography

“Adam International Review.” British Literary Magazines: The Modern Age, 1914-1984. 1st ed. 1986. Print.
“Adam International Review.” British Poetry Magazines 1914-2000: A History and Bibliography of ‘Little Magazines’. 1st ed. 2006. Print.
Adam International Review: H.G. Wells issue. Digital image. Galactic Central. N.p., 2012. Web.

Grindea, Miron. Adam International Review. Digital image. Derringer Books. N.p., 2012. Web.

–. Adam, International Review. Digital image. Trussel. N.p., 2010. Web.

–. Adam International Review 200th issue. Digital image. Bibliopolis. N.p., 2012. Web.

Kemsley, Rachel. “Adam International Review.” King’s College London Archives Services – Summary Guide. King’s College London, n.d. Web. 20 Oct. 2012.

Schüler, C.J. “Miron Grindea: The Don Quixote of Kensington.” The Independent. 1 Apr 2006. Web. 23 Feb 2016.

“Adam” compiled by Bettina Lem (Davidson College, Class of ’13)

Written by Peter Bowman · Categorized: British, European

Mar 20 2016

291

Facts

Title:
291

Date of Publication: 
Mar. 1915 – Feb. 1916

Place(s) of Publication: 
New York, NY

Frequency of Publication: 
Monthly

Circulation:
Unknown

Publisher: 
291 Publishing, 291 Fifth Avenue, New York

Physical Description:
4 – 6 pages. Deluxe Version: 19.5″x12″ printed on fine Japanese Vellum paper. Standard Version: 19.5″x12″ printed on standard non-glossy paper

Price:
10 cents

Editor(s): 
Alfred Stieglitz

Associate Editor(s): 
Paul de Haviland, Marius de Zayas, Agnes Meyer (Editorial Contributors)

Libraries with Complete Original Issues: 
National Gallery of Art; Northwestern University; Columbia University; The Museum of Modern Art
PDFs of full run available online at the University of Iowa’s International Dada Archive

Reprint Editions: 
Ann Arbor, Michigan: UMI, 2004. (Little Magazines. American 1910 – 1919) [Microform].
New York: Arno Series of Contemporary Art, with an introduction by Dorothy Norman

Description

Although it lasted only a year and was seen by many as a failed elitist experiment, 291 succeeded in its effort to “weld together the plastic and the literary arts” (Abrahams 194). Named for Alfred Stieglitz’s gallery at 291 Fifth Avenue, the magazine was a forum for avant-garde photography, literature, and art; like the gallery, Stieglitz intended for his magazine to unite all forms of art on equal levels.

291 arose at the prompting of close friend and fellow artist Marius de Zayas along with moneyed enthusiasts Agnes Meyer and Paul de Haviland, who thought that the new project would revitalize the “sturdy Islet of enduring independence in the besetting seas of Commercialism and Convention” that the war had brought (Whelan 337). Selling only about one hundred copies of both the regular and deluxe subscriptions, the four to six page 291 gave away almost as many copies as it sold. With radical Dadaist principles that did not appeal to a mass audience, the magazine turned out to be “nothing more than an experiment, and a means to give de Zayas, Mrs. Meyer, Katharine Rhoades, and some others a chance to experiment” (Leavens 128). Its failure to sell forced the magazine’s demise after twelve issues, but in its short run it helped publicize the works of Pablo Picasso, Francis Picabia, Katharine Rhoades, and other artists and authors.

Gallery

Manifesto

While the editors of 291 never published a manifesto, Close Up magazine offered a powerfully idealized description of what the gallery 291 and its community meant. These responses by Eugene Meyer to Stieglitz’s question, “What is ‘291’?” were printed in the January 1915 issue of Close Up:

“An oasis of real freedom –
A sturdy Islet of enduring independence in the besetting seas of Commercialism and Convention –
A rest – when wearied
A stimulant – when dulled
A Relief –
A Negation of Preconceptions
A Forum for Wisdom and for Folly
A safety valve for repressed ideas –
An Eye Opener
A Test –
A Solvent
A Victim and an Avenger.”

(Whelan 337-338)

Editors

Alfred Stieglitz (Jan. 1, 1864 – Jul. 13, 1946)
Editor: Mar. 1915 – Feb. 1916

A German-American Jew born in Hoboken, NJ in 1846, Alfred Stieglitz was the preeminent photographer of the Modernist period. As an artist Stieglitz was rabidly anti-commercial; his primary concern was the elevation of photography to the realm of high art by breaking away from conventional notions of photography, and he cared little for sacrificing his art to the mass appeal of the American public. In 1897 Stieglitz co-founded the Camera Club of New York and served as editor for the club’s magazine, Camera Notes. He left five years later to found the school of Photo Secession, which defined itself as “seceding from the accepted idea of what constitutes a photograph;” Stieglitz’s new magazine, Camera Work, appeared in 1903 as the public face of the movement (Stieglitz). 291 Fifth Avenue, a fifteen square foot room of avant-garde art and photography, became home to Stieglitz and his contemporaries in their artistic endeavors. By 1915 these artists felt the 291 could use reinvigoration, so Stieglitz, as well as fellow artists and financiers, created a public representative–the short-lived magazine 291.

Contributors

Guillaume Apollinaire
“Voyage”

Georges Braque
Cover Design (No. 9)

Ribemont Dessaignes
“Musique”

Paul B. Haviland
“291”

C. Max Jacob
“La Vie Artistique”

J.B. Kerfoot
“A Bunch of Keys”

John Marin
Cover Design (No. 4)

Agnes E. Meyer
“How Versus Why”; “Mental Reactions”; “Woman”

Francis Picabia
New York
Fille Née Sans Mère
Cover Design (No. 5)
Canter
Portrait d’une Jeune Fille Américaine dans l’État de Nudité
J’ai Vu
Voila Haviland
Voilà Elle
Fantasie
“We Live in a World”

Pablo Picasso
Oil and Vinegar Castor
Cover Design (No. 10)

Katharine Rhoades
Drawing
“I Walked into a Moment of Greatness”
“Flip-Flap”
“Narcosis”

Albert Savinio
Dammi L’anatema
Cosa Lasciva

Edward Steichen
“What is Rotten in the State of Denmark”

Alfred Stieglitz
One Hour’s Sleep – Three Dreams
The Steerage

A. Walkowitz
Cover Design (No. 3)

Marius de Zayas
Cover Design (No. 1)
Simultanism
“New York n’a pas Vu D’abord”
“Picasso”
“Modern Art…Negro Art….”

Bibliography

Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978.

Hoffman, Frederick J., Charles Allen, and Carolyn F. Ulrich. The Little Magazine: A History and a Bibliography. Princeton, NJ: Princeton UP, 1947.

Images. “Digital Dada Library Collection.” The International Dada Archive. 2007. University of Iowa. 14 July 2009.

Images. The Blue Mountain Project. Princeton University. Web. 1 Jul 2016.

Leavens, Ileana. From 291 to Zurich: the Birth of Dada. Ann Arbor, MI.: UMI Research Press, 1983.

Norman, Dorothy. Ed. 291, Nos. 1-12. New York: Arno Press, 1972.

Steiglitz, Alfred. Transcribed by Cary Ross (1942). “The Origin of the Photo-Secession and How It Became 291.” Twice A Year (8-9).

Tashjian, Dickran. Skyscraper Primitives. Middletown, CT: Wesleyan UP, 1975.

Whelan, Richard. Alfred Stieglitz: A Biography. New York: Little, Brown, and Company, 1995.

de Zayas, Marius, and Paul Haviland. A Study of the Modern Evolution of Plastic Expression. New York: 291, 1912.

“291” compiled by Alex Entrekin (Class of ’06, Davidson College)

Written by Peter Bowman · Categorized: American

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