TY  - BOOK
AU  - Marshall,Jennifer Jane
TI  - Machine art, 1934
SN  - 9780226507156
AV  - N8222.M27 M37 2012
U1  - 700/.4112 23
PY  - 2012///
CY  - Chicago, London
PB  - The University of Chicago Press
KW  - Museum of Modern Art (New York, N.Y.)
KW  - History
KW  - fast
KW  - Machinery in art
KW  - Exhibitions
KW  - Modernism (Art)
KW  - New York (State)
KW  - New York
KW  - Art and industry
KW  - 20th century
KW  - Machines dans l'art
KW  - Expositions
KW  - Modernisme (Art)
KW  - New York (État)
KW  - Art et industrie
KW  - Histoire
KW  - 20e siècle
KW  - ART
KW  - Performance
KW  - bisacsh
KW  - Reference
KW  - cct
KW  - Reklamkonst
KW  - historia
KW  - Förenta stater
KW  - 1900-talet
KW  - utställningar
KW  - sao
KW  - Modern konst
KW  - Industriell formgivning
KW  - Industri i konsten
KW  - Maskinkultur i konsten
KW  - Maskiner i konsten
KW  - Electronic books
KW  - exhibition catalogs
KW  - aat
KW  - Exhibition catalogs
KW  - lcgft
KW  - Catalogues d'exposition
KW  - rvmgf
N1  - Includes bibliographical references (pages 191-201) 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
N2  - 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
UR  - https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=507161
ER  -