By Mark Rawlinson
Charles Sheeler used to be the stark poet of the laptop age. Photographer of the Ford Motor corporation and founding father of the portray circulate Precisionism, he's remembered as a promoter of - and apologist for - the industrialised capitalist ethic. This significant new reconsider of 1 of the main figures of yank modernism argues that Sheeler's precise courting to growth was once in truth hugely detrimental, his 'precisionism' either skewed and vague. protecting the full oeuvre from images to portray and drawing recognition to the inconsistencies, curiosities and 'puzzles' embedded in Sheeler's paintings, Rawlinson finds a profound critique of the approaches of rationalisation and the stipulations of modernity. The e-book argues eventually for a re-assessment of Sheeler's usually brushed off overdue paintings which, it indicates, may well purely be understood via a thorough shift in our realizing of the paintings of this in demand determine.
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Extra info for Charles Sheeler: Modernism, Precisionism and the Borders of Abstraction
The photographer merely pointed the camera and released the shutter. The art collector, gallery owner and supporter of the avant-garde, Marius de Zayas, claimed candidly in a 1913 edition of ‘Camera Work’ that ‘photography is not art. It is not even an art. Art is the expression of the conception of an idea. 78 In his separate statements, not only does de Zayas articulate the major criticisms haunting photography and the photographer throughout its early history – namely, that as a machine, the camera recorded fact and nothing more – but also the speed with which theories of art were evolving during this volatile period.
It seems possible to imagine that in the other photographs in the constellation the light source is not a strategically placed photographic lamp but the light from this stove emanating through the house. Granted, the light in the stove is a lamp and not a fire, but Sheeler’s imagery seeks to make the analogy. indd 39 31/10/2007 14:14:05 5. . 111 I would argue that in the case of the Doylestown photographs Rourke is only half right. Locked as we are in the monadic house, imprisoned amongst its nooks and crannies, pushed into its corners, thresholds barred and our sense of space impeded, we see only the interior.
The reason: the overt influence of photography. At the start of the twentieth century, photography was not considered a legitimate form of expression worthy of the name ‘art’. The photograph, unlike the painted canvas, was considered the result of a different creative process altogether. The photographer merely pointed the camera and released the shutter. The art collector, gallery owner and supporter of the avant-garde, Marius de Zayas, claimed candidly in a 1913 edition of ‘Camera Work’ that ‘photography is not art.
Charles Sheeler: Modernism, Precisionism and the Borders of Abstraction by Mark Rawlinson