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Katherine Sophie Dreier was born into a fairly wealthy family in Brooklyn, New York. Her parents emigrated from Bremen, Germany in the s during one of the largest flows of German immigration to the USA, and soon established a comfortable environment for themselves and five children.

Theodor, Dreier's father, earned a substantial salary in an iron importing business. It is clear from several accounts that the Dreier home was a warm and progressive one and that Dreier and her siblings enjoyed the same opportunities independently of their gender and were also encouraged to understand and participate in social endeavors from an early age.

Indeed, throughout their life, and following the example of their mother, Dorothea, all of Dreier's siblings and especially her three sisters, would exhibit an active commitment to social reform.

Her sisters Mary and Margaret made significant contributions to the suffrage and labor movements, holding leadership positions in the Women's Trade Union League WTUL among other organizations.

While Katherine was to follow in the steps of her older sister Dorothea, a Post-Impressionist painter, and become an artist, she herself engaged in social work throughout her life.

Her approach to art and, later, collecting also reflected her commitment to democratic ideals. Dreier already began taking private art lessons at the age of 12 and received formal training at the Brooklyn Art School between and In the following decade, funded by a large inheritance from her parents, Dreier took several trips to Europe, visiting prominent art collections - including that of Leo and Gertrude Stein in Paris - and continuing her artistic training.

In , Dreier joined her sister, Dorothea, to study painting at the Pratt Institute and, a year later, followed her back to Europe to examine the art of the Old Masters close-up.

Upon returning to New York, she continued her artistic training under Scottish-American painter Walter Shirlaw, who Dreier later admitted was instrumental in the formation of her understanding of art as free expression.

During this time, she met artist Edward Trumbull through a mutual friend. The two married, but the marriage was quickly annulled when Dreier discovered that Trumbull already had a wife and children.

Despite this personal misfortune, Dreier remained productive. In , she became treasurer of the German Home for Recreation of Women and Children and assisted in the foundation of the Little Italy Neighborhood Association in Brooklyn, and in she was invited to exhibit work at the groundbreaking Armory Show in New York City alongside modern artists such as Alexander Archipenko , Constantin Brancusi , Georges Braque , Robert Delaunay , Marcel Duchamp , Francis Picabia , and Pablo Picasso.

While the show garnered much exposure for Dreier's work, the critics' reviews were not enthusiastic. According to Naomi Blumberg, the response to her own work as well as to the work of the other radical artists "inspired Dreier to devote herself to promoting the work of modern artists, who were largely dismissed and misunderstood by American audiences.

Following her first solo show in the United States in at the Macbeth Gallery, Dreier, together with her sister Dorothea, founded the Cooperative Mural Workshop to further her commitment to making art public and accessible.

Based on the examples of Old Master artists such as Titian and Veronese as well as the Arts and Crafts movement in Britain, the Workshop aimed, in the words of Dreier, "to band together a group of earnest painters who desired to express themselves in decorative art.

During this time, Dreier met Marcel Duchamp , with whom she forged a lifelong friendship and collaborative partnership.

While the French name designates a company with anonymous partners, the inclusion of "Inc. The paradox of the "named unnamed" befit the Dada sensibilities of Duchamp and Man Ray.

William Clark writes that Dreier "wanted to call it 'The Modern Ark,' perhaps symbolizing her shipping an unrivalled collection of European Modernism over the Atlantic It is worth noting that both of Dreier's collaborators, Duchamp and Man Ray, were most closely associated with Dada.

It hosted the first American one-person shows of Kandinsky , Klee , Campendonk, and Leger. In line with her educational mission, during the s and until the end of her life, Dreier also wrote and lectured on modern art in diverse settings, including the Bauhaus and Black Mountain College , an experimental school founded by her nephew.

Her books include Western Art and the New Era: An Introduction to Modern Art and the first book ever to be published in English on Vincent Van Gogh The exhibition, with over works by over artists from 23 countries, was the largest exhibition of modern art since the infamous Armory Show.

Instead of adopting the traditional, vertical-installation style of the salon, Dreier decided to exhibit works in a single row and at eye level - an innovative display at the time.

What is more, the works of artists of "major" and "minor" significance were exhibited side by side, and national boundaries were completely disregarded.

Finally, Dreier's display included four rooms which reproduced domestic interiors - a reception, a library, a dining room, and a bedroom - showcased examples of modern painting, showing visitors how one might live with the abstract art that they found difficult and sometimes incomprehensible.

She proclaimed, "Unless we have Art in home, we cannot learn its language. In the six weeks that the International Exhibition was open, between November and January , at least 53, visitors made their way through the Brooklyn Museum's doors to see it.

While the exhibition was influential in introducing a new generation to modernism, the importance of the show has been overshadowed by the founding of the Museum of Modern Art in , but in fact, the young curator Alfred Barr visited the Brooklyn show and took home many important lessons about the display of the new, radical art.

We shut out and deny them, and as a result many if not most experiences get edited, censored, forgotten, and pushed aside in favor of a narrow band of experience that feels safe.

Limited freedom is based on what you can reasonably expect from life. Total freedom begins by looking on life as a field of infinite possibilities.

It takes some persuasion to make total freedom seem like more than a pipe dream, however. Is it even desirable to feel totally open, unbounded, and free of boundaries to keep us safe?

A key issue here is spontaneity. Spontaneity is without rules, which seems like a recipe for anarchy. Rule enforcement is the surest way to keep people in line, or so the rule enforcers believe.

Consider the extreme example of applying to the bank for a personal loan in China. If you want a loan there, you can use your smartphone, and online lending agencies check you out electronically, using data stored in the cloud.

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