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Machine art, 1934 /Jennifer Jane Marshall.

By: Material type: TextTextPublication details: Chicago ; London : The University of Chicago Press, (c)2012.Description: 1 online resource (xxiii, 212 pages) : illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780226507170
Subject(s): Genre/Form: LOC classification:
  • N8222 .M334 2012
Online resources: Available additional physical forms:
Contents:
Introduction: Material formalism -- Objectification: Machine art's photographic operations -- In form we trust: Machine art's neoplatonism at the end of the American gold standard -- The art of parts: Machine art's alienated objects and their rationalized reassembly -- Empiricism: The object of machine art's experience -- Epilogue: Opening the circle.
Subject: 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.
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Item type Current library Collection Call number URL Status Date due Barcode
Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD) Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD) G. Allen Fleece Library ONLINE Non-fiction N8222.27 (Browse shelf(Opens below)) Link to resource Available on1083307557

Includes bibliographies and index.

Preface: A particular brand of modernism -- Introduction: Material formalism -- Objectification: Machine art's photographic operations -- In form we trust: Machine art's neoplatonism at the end of the American gold standard -- The art of parts: Machine art's alienated objects and their rationalized reassembly -- Empiricism: The object of machine art's experience -- Epilogue: Opening the circle.

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.

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