000			03049nam a2200397Ii 4500
001			on1083307557
003			OCoLC
005			20240726105319.0
008			190125s2012 ilua ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT
020			_a9780226507170 _q((electronic)l(electronic)ctronic)
043			_an-us-ny
050	0	4	_aN8222 _b.M334 2012
049			_aMAIN
100	1		_aMarshall, Jennifer Jane, _e1
245	1	0	_aMachine art, 1934 /Jennifer Jane Marshall.
260			_aChicago ; _aLondon : _bThe University of Chicago Press, _c(c)2012.
300			_a1 online resource (xxiii, 212 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aPreface: A particular brand of modernism -- _tIntroduction: Material formalism -- _tObjectification: Machine art's photographic operations -- _tIn form we trust: Machine art's neoplatonism at the end of the American gold standard -- _tThe art of parts: Machine art's alienated objects and their rationalized reassembly -- _tEmpiricism: The object of machine art's experience -- _tEpilogue: Opening the circle.
520	0		_aIn 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.
530			_a2 _ub
610	2	0	_aMuseum of Modern Art (New York, N.Y.) _xHistory.
650		0	_aMachinery in art _vExhibitions.
650		0	_aModernism (Art) _zNew York (State) _zNew York _vExhibitions.
650		0	_aArt and industry _zNew York (State) _zNew York _xHistory _y20th century.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=507161&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hN. _m2012 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c96198 _d96198
902			_a1 _bCynthia Snell _c1 _dCynthia Snell