|Died||December 22, 1969|
|Known for||curator at the Museum of Modern Art|
Iris Barry (1895 – 1969) was the founder of the film department of the Museum of Modern Art in New York City in 1935. Barry was a film critic, and an early proponent of relating cinema to sociology, mythology, and genre.
Barry was born Iris Sylvia Crump, in the Washwood Heath district of Birmingham, England. She was the daughter of Alfred Charles Crump and Annie Crump. She studied at the Ursiline convent, Verniers, Belgium.
She became one of the earliest female film critics. From 1923 to 1930, she wrote for The Spectator and was a founding member of the Film Society in 1925.
She is probably best remembered as a curator at the Museum of Modern Art, which had opened in 1929. After coming to the United States in 1930, she founded the film study department in 1932, with an archival collection of rare films, library of film-related books, and a film circulation program. She also collected films. She became an American citizen in 1941, and married John E. Abbott.
Barry wrote a popular book on moviegoing Let's Go to the Pictures (1926) and the scholarly classic D. W. Griffith: American Film Master and became a regular book reviewer for the New York Herald Tribune.
MOMA's Film Library
The cinema studies scholar Haidee Wasson argues that under Barry's direction the MOMA's Film Library, the first American institution of film art, created the cultural and intellectual climate that allowed “. . . selected films to become visible to an emergent public under the rubrics of art and history, ” served as a “promulgator of discourses about cultural value and productive leisure,” and consequently defined “… what objects and media matter within the politics of cultural value and visual knowledge”. Wasson further details MOMA’s director’s Alfred Barr and Iris Barry's continuous struggle to affirm the cultural status and value of cinema to powerful museum benefactors and to win over Hollywood film studios’ support in order to elevate cinema’s status to that of a unique American art form. Wasson also elaborates on MOMA's Film Library’s effort to create modern audience for art cinema by employing overt disciplinary strategies. The staff of the Film Library, and sometimes Barry herself, carefully monitored the spectator’s behavior in the cinematic salon, sanctioning improper conduct (e.g. rowdiness, excessive chatter or laughter during screening etc.) by, at times, even terminating the film screening altogether. These strategies, Wasson argues, sought to mold a new form of cinematic audience by instilling the values of “educated film viewing and studious attention”.
- Splashing into society. London: Constable, 1923
- D. W. Griffith: American Film Master. Museum of Modern Art. 1 January 2002. ISBN 978-0-87070-683-7. Retrieved 24 June 2013.
- Let's go to the movies. Arno Press. 1926. ISBN 978-0-405-03911-9. Retrieved 24 June 2013.
- American Library Association; Iris Barry; Warner Bros. Pictures; Warner Bros. Pictures (1923-1967) (1946). The motion picture: a selected booklist. Retrieved 24 June 2013.
- Barbara Sicherman; Carol Hurd Green (January 1980). Notable American Women: The Modern Period : a Biographical Dictionary. Harvard University Press. pp. 56–58. ISBN 978-0-674-62733-8. Retrieved 24 June 2013.
- Wasson, H. (2005). "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." University of California Press, p.7
- Wasson, H. (2005). "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." University of California Press, pp. 110-149
- Wasson, H. (2005). "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." University of California Press, pp. 168-182
- Houston, Penelope. (1994) Keepers of the frame: the film archives. British Film Institute