The Société Anonyme (which translates from French to “anonymous organization”) was founded in 1920 as an experimental museum and to advance and promote American and European modern and avant-garde art and artists in America.  It introduced and promoted both now-recognized modern artists such as Alexander Calder, Henri Matisse, Pablo Picasso and co-founder and Dada modernist Man Ray, as well as lesser-known artists in exhibitions throughout the U.S. 

In true Dada style, the first exhibit by the Société Anonyme opened in New York City and required attendees to pay an entrance fee of 26(?) cents.

Over time, many modern artists were introduced to American audiences through the Société’s exhibits. During the next 30 years, the influential society assembled an extensive assemblage of over 1,000 modernist paintings, sculptures and other works of art.  In 1941, the collection was transferred to Yale University.  The collection has been compared to the modern art collections of The Museum of Modern Art and the Guggenheim Museum, both in New York City.

The exhibit includes around 150 seldom seen pieces from 84 artists and runs through January 21, 2007.

In a classic quote from Ray Man from a 1948 essay about art, “There is no progress in art, any more than there is progress in making love. There are simply different ways of doing it.”   This exhibit exemplifies the many different “ways” of modern art.

One rather unique piece in the exhibit is an animated film clip from The Adventures of Prince Achmed by German animator Lotte Reiniger.  This indie-produced animated feature from 1926 uses elaborate black paper silhouettes set against colored backgrounds.  The storyline is based in part on the classic Persian story, One Thousand and One Nights. Set to an original symphonic score, I must admit; even after 80 years, the animation was mesmerizing.  While only the second act (20 minutes of the original 65 minute film) is presented on a somewhat small screen, it is well worth the time.
 
An interesting side note about this film is about the source of the original film stock. An acquaintance of Reiniger, hoping to hedge against the skyrocketing post-WW-I inflation in German, bought a large amount of raw film stock hoping it would be inflation-proof.  The investment turned worthless, and was given to Reiniger on which she made this feature film. 
 
Concurrently at The Phillips Collection, is a collection of 19 prints from Soviet-Russian artist El Lissitzky, an innovator of graphic art, modern typography and photomontage styles in the 1920s and 30s.

The Phillips Collection
1600 21st Street, NW, Washington, DC 20009 (21st Street, between Q and R Streets, ½ block off of Massachusetts Avenue) 

Hours
Tuesday–Saturday 10:00 a.m.–5:00 p.m. Thursdays until 8:30 p.m., Sunday Noon–7:00 p.m. Closed Mondays and major holidays.

Tickets
Are available online and are $12.00 for adults, $10.00 for seniors (62+) and students, free for 18 and under.

Closest Metro station
Dupont Circle station, on the Red Line, use the Q Street exit.

Parking
Street parking in the area can be a bit challenging at times, but I’ve always had great luck within a couple blocks. Several public parking garages close if needed. 

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Image credits:
Top: Wassily Kandinsky, Multicolored Circle (Mit Buntem Kreis), 1921, Oil on canvas, 54 7/16 x 70 7/8 inches, Yale University Art Gallery. Gift of Collection Société Anonyme. © 2006 ARS, New York / ADAGP, Paris
Bottom: El Lissitzky (1890–1941), New Man, From Figurine portfolio Victory over the Sun, 1923, Lithograph, 20 3/8 x 17 ¼ in. (52 x 44 cm)
Collection A. Fenner Milton, Photograph by Lely Constantinople

Post from: The DC Traveler