Maura Tangum<\/p>\n
Dr. Churchill<\/p>\n
The Avant-Garde<\/p>\n
15 September 2017<\/p>\n
Clara Tice: An Annotated Bibliography<\/p>\n
“At the Little Thimble Theatre.”\u00a0The Lotus Magazine<\/em>, Oct. 1915, pp. 47-48.\u00a0JSTOR<\/em>. Although this concise article lacks an author, it resonates with a playful and intriguing personal voice. The article serves as a straightforward and honest review of the New York comedy production \u201cGreenwich Village,\u201d for which Clara Tice\u2014in the midst of her involvement in NYC theater\u2014 designed the curtain. While the anonymous author of the article is biased in his or her confident praise of Tice\u2019s artistic accomplishments, the author provides an unusual viewpoint which adamantly praises Tice\u2019s highly controversial nude illustrations. A depiction of Tice\u2019s curtain-design is also included in the article and serves as a helpful visual reproduction of Tice\u2019s less controversial and more widely-accepted work.<\/p>\n “Clara Tice lights Guido Bruno Garret.”\u00a0New York Times<\/em>, 11 May 1915, p. 8.\u00a0ProQuest<\/em>. Lacking an author, this newspaper article offers first-hand insight into the array of opinions surrounding Tice\u2019s early works and exhibitions in Greenwich village. The article serves as an overwhelmingly positive celebration of the forms, colors, and simplistic design elements exhibited within Tice\u2019s early work completed during her late teens. Such a positive appreciation of Tice\u2019s work contrasts with popular negative opinion of Tice\u2019s work. Despite its biased perspective, this article is useful in the way in which its anonymous author\u2019s tone and opinion can be compared to other perspectives on Tice throughout the span of Tice\u2019s artistic career.<\/p>\n Keller, Marie T., editor. “Clara Tice, “Queen of Greenwich Village”.”\u00a0Women in Dada: Essays<\/em>\u00a0on Sex, Gender, and Identity<\/em>, edited by Naomi Sawelson-Gorse, The MIT Press, 1998, pp. 415-441. Author Marie T. Keller is a humanities and arts professor at Worcester Polytechnic Institute who learned about Clara Tice through direct access to the Tice estate and interviews with Clara Tice\u2019s niece, Elizabeth Yoell. Keller\u2019s detailed though simply formatted and accessible chapter concerning Clara Tice serves as in-depth biography of Tice\u2019s life and artistic career. Due to Keller\u2019s first-hand interviews with a direct relative of Tice, the chapter is riddled with rare and intimate anecdotes about Tice\u2019s life, providing a glimpse into Tice\u2019s identity as both a creator and as a woman. The chapter also includes five of Tice\u2019s illustration, pulled from various time periods and contexts, offering the reader a brief though visible timeline of a selection of Tice\u2019s work.<\/p>\n Lindt, Susan E. “An en-Tice-ing character.”\u00a0Intelligencer Journal<\/em>, Nov. 2007.\u00a0ProQuest<\/em>. Author Susan E. Lindt is a contributing author to Intelligencer Journal <\/em>who attended the 2007 exhibit \u201cClara Tice: A Dada Woman\u201d at the Demuth Museum in Lancaster, Pennsylvania. Lindt\u2019s casually-voiced and oddly formatted article reads like a blog post, imbuing its contents with a whimsy which dismantles its chances of being considered particularly credible or scholarly by an academic audience. The article plays two roles simultaneously. It is both a collection of curious details and anecdotes concerning Clara Tice\u2019s life and artistic career and it is a biased review of Tice as an artist. While the article provides the reader with a contemporary perspective regarding Tice\u2019s work, its multiple grammatical errors and strange formatting (which reads more as lazy than avant-garde) renders it fairly inaccessible and illegitimate.<\/p>\n McGee, Celia. “Clara Tice: Meredith Ward Fine Art.”\u00a0ARTnews<\/em>, Feb. 2010, p. 107. Author Celia McGee is a contributing author to both online and print versions of ARTnews<\/em>, who attended the 2010 exhibition of Clara Tice\u2019s work at the Meredith Ward Fine Art gallery in New York City. McGee\u2019s brief, conversational review of the 2010 show on Clara Tice offers a contemporary perspective of Tice\u2019s work as viewed through a formal exhibition. While McGee\u2019s review is fresh and insightful, it loses credibility through McGee\u2019s sardonic tone and through the series of humorous assumptions McGee makes regarding the lives of artists working in New York during the nineteen twenties. Thus, the review serves as a poor source of realistic information regarding Tice\u2019s life and artistic career. Its value lies in its ability to communicate a contemporary and honest perspective on Tice\u2019s artwork.<\/p>\n Ross, Lauren. “Clara Tice (1888-1973).”\u00a0Making Mischief: Dada Invades New York<\/em>, edited by\u00a0Francis M. Naumann and Beth Venn, Whitney Museum of American Art, 1996, p. 190. Author Lauren Ross is the curator of the Institute for Contemporary Art at Virginia Commonwealth University who holds two degrees in art history and has contributed essays to publications by artistic organizations including White Columns and The Studio Museum in Harlem. Ross\u2019s concise though informative biography on Clara Tice serves as an introduction to Tice\u2019s life and artistic career. Unlike other biographies on Tice, Ross notes the variety of creative careers Tice pursued throughout her life, thus portraying her as an interesting and multifaceted figure in Dada. The intriguing variety of Tice\u2019s careers briefly noted by Ross\u2014illustrator, publicist, set-designer, window-display creator\u2014serve as pleas for further exploration of Tice\u2019s identity.<\/p>\n","protected":false},"excerpt":{"rendered":" Maura Tangum Dr. Churchill The Avant-Garde 15 September 2017 Clara Tice: An Annotated Bibliography “At the Little Thimble Theatre.”\u00a0The Lotus Magazine, Oct. 1915, pp. 47-48.\u00a0JSTOR. Although this concise article lacks an author, it resonates with a playful and… Read More<\/a><\/p>\n","protected":false},"author":192,"featured_media":3071,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-3068","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bibliography"],"jetpack_featured_media_url":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/files\/2017\/09\/tice.jpg","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3068","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/192"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3068"}],"version-history":[{"count":4,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3068\/revisions"}],"predecessor-version":[{"id":3178,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3068\/revisions\/3178"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media\/3071"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3068"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3068"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3068"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}