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Charles Sheeler was the stark poet of the machine age. Photographer of the Ford Motor Company and founder of the painting movement Precisionism, he is remembered as a promoter of - and apologist for - the industrialised capitalist ethic. This major new rethink of one of the key figures of American modernism argues that Sheeler's true relationship to progress was in fact highly negative, his 'precisionism' both skewed and imprecise. Covering the entire oeuvre from photography to painting and drawing attention to the inconsistencies, curiosities and 'puzzles' embedded in Sheeler's work, Rawlinso.
Precisionism --- Modernism (Art) --- Machinery in art. --- Sheeler, Charles, --- Criticism and interpretation.
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This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism.
Futurism (Literary movement) --- Machinery in art. --- Futurism (Art) --- Bachelor machines --- Machines célibataires --- Art and technology --- avant-garde. --- futurism. --- industrial. --- machine art. --- machine. --- modernism. --- modernity. --- technology. --- transnational. --- utopia / dystopia.
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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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