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In 1934, New York's Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass production. Telling the story of this extraordinarily popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum's director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey's insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.
Machinery in art --- Modernism (Art) --- Art and industry --- Advertising, Art in --- Industry and art --- Industries --- Commercial art --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- History --- Museum of Modern Art (New York, N.Y.) --- New York (City). --- New York (N.Y.). --- Nyū Yōku Kindai Bijutsukan --- MOMA --- History. --- moma, exhibition, mass production, value, aesthetics, beauty, new york, ordinary objects, mundane, machine, parts, protractors, petri dishes, cocktail tumblers, pans, pots, airplane propellers, ball bearings, museum of modern art, philip johnson, curator, alfred h barr jr, context, perception, gold standard, abstract, photography, modernism, interwar, machinery, empiricism, alienation, neoplatonism, objectification, material formalism, nonfiction.
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Art museum directors --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Directors of art museums --- Art museums --- Museum directors --- Employees --- Barr, Alfred Hamilton, --- Museum of Modern Art (New York, N.Y.) --- New York (City). --- New York (N.Y.). --- Nyū Yōku Kindai Bijutsukan --- MOMA --- History.
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In 1970 photography curator Peter C. Bunnell organized an exhibition called Photography into Sculpture for the Museum of Modern Art, New York. The project, which brought together twenty-three photographers and artists from the United States and Canada, was among the first exhibitions to recognize work that blurred the boundaries between photography and other mediums. At once an exhibition catalogue after the fact, an oral history, and a critical reading of exhibitions and experimental photography during the 1960s and 1970s, The Photographic Object 1970 proposes precedents for contemporary artists who continue to challenge traditional practices and categories. Mary Statzer has gathered a range of diverse materials, including contributions from Bunnell, Eva Respini and Drew Sawyer, Erin O'Toole, Lucy Soutter, and Rebecca Morse as well as interviews with Ellen Brooks, Michael de Courcy, Richard Jackson, Jerry McMillan, and other of the exhibition's surviving artists. Featuring seventy-nine illustrations, most of them in color, this volume is an essential resource on a groundbreaking exhibition.
Photography --- Art and photography --- History --- Exhibitions. --- Photography into sculpture (Exhibition) --- 1960s photography. --- 1970s photography. --- 20th century american photography. --- 20th century photography. --- american artistry. --- american photography. --- art appreciation. --- art history. --- canadian photographers. --- contemporary artists. --- drew sawyer. --- ellen brooks. --- erin otoole. --- eva respini. --- jerry mcmillan. --- lucy soutter. --- michael de courcy. --- moma. --- museum of modern art. --- north american photographers. --- photography into sculpture. --- photography. --- rebecca morse. --- richard jackson.
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Haidee Wasson provides a rich cultural history of cinema's transformation from a passing amusement to an enduring art form by mapping the creation of the Film Library of the Museum of Modern Art (MoMA), New York, established in 1935. The first North American film archive and museum, the film library pioneered an expansive moving image network, comprising popular, abstract, animated, American, Canadian, and European films. More than a repository, MoMA circulated these films nationally and internationally, connecting the modern art museum to universities, libraries, women's clubs, unions, archives, and department stores. Under the aegis of the museum, cinema also changed. Like books, paintings, and photographs, films became discrete objects, integral to thinking about art, history, and the politics of modern life.
Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History. --- Preservation --- History and criticism --- Museum of Modern Art (New York, N.Y.). --- Museum of Modern Art Film Library (New York, N.Y.) --- Film Library of the Museum of Modern Art (New York, N.Y.) --- 1935. --- american film. --- art cinema. --- art forms. --- art history. --- birth of art cinema. --- canadian film. --- cinema scholars. --- cinemas transformation. --- cultural history. --- european film. --- film analysis. --- film archives. --- film historians. --- film history. --- film library. --- film museum. --- film students. --- historical. --- historiography. --- information sciences. --- libraries. --- modern life. --- modern politics. --- moma. --- movie theory. --- museum of modern art. --- new york. --- popular films. --- universities.
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This absorbing biography, often conveyed through Peter Selz's own words, traces the journey of a Jewish-German immigrant from Hitler's Munich to the United States and on to an important career as a pioneer historian of modern art. Paul J. Karlstrom illuminates key historical and cultural events of the twentieth-century as he describes Selz's extraordinary career-from Chicago's Institute of Design (New Bauhaus), to New York's Museum of Modern Art during the transformative 1960's, and as founding director of the University Art Museum at UC Berkeley. Karlstrom sheds light on the controversial viewpoints that at times isolated Selz from his colleagues but nonetheless affirmed his conviction that significant art was always an expression of deep human experience. The book also links Selz's long life story-featuring close relationships with such major art figures as Mark Rothko, Dore Ashton, Willem de Kooning, Sam Francis, and Christo-with his personal commitment to political engagement.
Art historians --- Art critics --- Art museum curators --- Art curators --- Curators, Art museum --- Art museums --- Museum curators --- Historians --- Employees --- Selz, Peter, --- Selz, Peter Howard, --- Selz, Hans Peter, --- Selz, Peter Howard, -- 1919-. --- Art historians -- United States -- Biography.. --- Art critics -- United States -- Biography.. --- Art museum curators -- United States -- Biography. --- 1960s artists. --- 20th century artists. --- american art museums. --- art and politics. --- art collectors. --- art culture. --- art history majors. --- art history. --- art museum history. --- art. --- artist biography. --- artists. --- california art enthusiasts. --- california art. --- christo. --- contemporary art. --- dore ashton. --- gallery directors. --- history. --- influential artists. --- jewish german artists. --- mark rothko. --- modern art. --- moma. --- museum curators. --- museums. --- new bauhaus. --- new york art. --- post wwii art. --- post wwii era. --- sam francis. --- uc berkley. --- willem de kooning. --- wwii artists.
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Nothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space.
Individual photographers --- Photography, Artistic. --- Museum of Modern Art (New York, N.Y.). --- New York (State) --- Art museums. --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art --- Aesthetics --- Nyu Yorḳ (State) --- NYS --- Niyū Yūrk (State) --- Nʹi︠u︡-Ĭork (State) --- Shtat Nʹi︠u︡ Ĭork --- State of New York --- State of N. York --- NY (State) --- N.Y. (State) --- N. York (State) --- نيويورك (State) --- ولاية نيويورك --- Wilāyat Niyū Yūrk --- Штат Нью-Ёрк --- Нью-Ёрк (State) --- Ню Йорк (State) --- Nova York (State) --- С̧ӗнӗ Йорк (State) --- Śĕnĕ Ĭork (State) --- Efrog Newydd (State) --- Kin Yótʼááh Deezʼá Hahoodzo --- Nííyóó Hahoodzo --- New Yorgi osariik --- Νέα Υόρκη (State) --- Nea Yorkē (State) --- Πολιτεία της Νέας Υόρκης --- Politeia tēs Neas Yorkēs --- Nueva York (State) --- Estado de Nueva York --- Nov-Jorkio --- Ŝtato de Nov-Jorkio --- État de New York --- Nua-Eabhrac (State) --- York Noa (State) --- Eabhraig Nuadh (State) --- Estado de Nova York --- Néu-Yok (State) --- Шин Йорк (State) --- Shin Ĭork (State) --- 뉴욕 주 --- Nyuyok-ju --- 뉴욕 (State) --- Nyuyok (State) --- Nuioka (State) --- Nú Yọk (State) --- Tchiaq York (State) --- New York Isifunda --- New York-fylki --- ניו יורק (State) --- מדינת ניו יורק --- Medinat Nyu Yorḳ --- Stat Evrek Nowydh --- Evrek Nowydh (State) --- Nou Yòk (State) --- Novum Eboracum (State) --- N̦ujorka (State) --- Niujorko valstija --- Niujorkas (State) --- Niorche (State) --- Њујорк (State) --- Njujork (State) --- Yancuīc York (State) --- ニューヨーク州 --- Nyū Yōku-shū --- ニューヨーク (State) --- Nyū Yōku (State) --- New York (Colony) --- conceptual art --- museology --- photography --- void studies --- architecture --- Museum of Modern Art (New York, N.Y.) --- New York (City). --- New York (N.Y.). --- Nyū Yōku Kindai Bijutsukan --- MOMA
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