Oral history interview with Charles Sheeler, 1959 June 18 - Oral Histories. Sheeler, Charles , b. 1883 d. 1965 Painter, Photographer, Lithographer Active in New York, N.Y.; Mt. Vernon, N.Y.; Irvington, N.Y.; Irvington-on-Hudson, N.Y.; Doylestown, Pa. Size: Sound recording: 2 sound tape reels ; 7 in. Transcript: 60 p. Collection Summary: An interview of Charles Sheeler conducted by Martin L. Friedman on 1959 June 18 for the Archives of American Art. Biographical/Historical Note: Painter; Irvington, N.Y. This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
How to Use this Interview A transcript of this interview appears below. Also in the Archives Interview Transcript This transcript is in the public domain and may be used without permission. Interview with Charles Sheeler Conducted by Martin Friedman June 18, 1959 Preface Interview CHARLES SHEELER: Oh, no, no. MARTIN FRIEDMAN: Yes. Rubens - Nils Büttner. Fa26405.pdf (application/pdf-Objekt) The Artist Looks at the Machine: Whitman, Sheeler, and American Modernism. Responding belatedly to Whitman's nineteenth-century injunction that modern art must be inspired with "science and the modern," the twentieth-century modernist eventually came to embrace the technological imagery of industrial America, through the influence of—among others the seminal photographer Alfred Stieglitz. But modernism embodied to some extent a critique of technology as well as a celebration of it, and a backward look as well as an enthusiasm for the future.
These ambiguities are especially interesting in the work of the major painter/photographer of the Precisionist movement, Charles Sheeler, whose work explores the tension between the literal seeing of the camera and the metaphorical/subjective vision of the painter. Sheeler's commission to paint Henry Ford's River Rouge factory resulted in some extraordinary paintings about American industry that render the American worker all but invisible. Charles Sheeler. In a period such as ours when only a comparatively few individuals seem to be given to religion, some form other than the Gothic cathedral must be found. Industry concerns the greatest numbers—it may be true, as has been said, that our factories are our substitute for religious expression.
(Charles Sheeler) Charles Sheeler, Steam Turbine, 1939 Charles Sheeler, the son of a steamer-line executive, was born in Philadelphia in 1883. Charles Sheeler, Clapboards, 1936 In 1910, Sheeler and Schamberg rented an eighteenth-century stone house in Doylestown, Pennsylvania; around this time, Sheeler taught himself photography. Charles Sheeler, Bucks County Barn, 1940 Throughout the 1910s, Sheeler formed lasting professional relationships with several important figures in the New York art world, including Alfred Stieglitz.
Charles Sheeler, Catastrophe No. 2, 1944 Charles Sheeler, Skyscrapers, 1922 Paul Strand, Wall Street, New York, 1915 Charles Sheeler, American Landscape, 1930. Manly arts: masculinity and nation ... - David A. Gerstner - Google Bücher. SS10-VO2.pdf (application/pdf-Objekt) Edsel Ford: The Businessman as Artist. 1This essay’s objective is to examine an overlooked, outstanding example of the businessman as artist, Edsel Bryant Ford. To consider his skill as automobile designer; his forceful, innovative management of advertising and public relations; his adept painting, sculpting and photography; his exceptional sense of personal elegance; the creation by his wife and himself of a remarkable personal residence; his philanthropic enterprises; his challenging, adroit and often deeply frustrating dealings with his own father Henry Ford; and, last but not least, his use of Diego Rivera—a man strangely misunderstood in his own time as the artist who did not do business. 1 R.
W. Apple Jr., New York Times, Late Edition, East Coast, NY, NY. Dec. 5, 1997, p. E.2:29. 2Edsel Ford’s life story happened in a unique American city, Detroit, Michigan, which the late New York Times journalist R. 2 My special gratitude to the fine staff at the Edsel & Eleanor Ford House, Grosse Pointe Shores, Mi (...) 3 M. Realism - Kerstin Stremmel - Google Bücher. A genius for place: American ... - Robin S. Karson, Library of American Landscape History - Google Bücher. Sheeler_Einstein_&_Spacetime.pdf (application/pdf-Objekt) Paul Cézanne's Influence Over American Modernism, at the Montclair Art Museum. American modernism - eNotes.com Reference.
Amon Carter Museum acquires landmark Charles Sheeler painting. American Modernists: Breaking the Mold. 2008 Jefferson Lecture in the Humanities: "The Clarity of Things" by John Updike. As many in this audience already know, the National Endowment for the Humanities, in association with the American Library Association, has launched in 2008 a program that will supply classrooms and public libraries with reproductions of significant American art, one example on each side of twenty high-quality posters, forty examples in all, under the overall title Picturing America. It was my idea, invited to give the 2008 Jefferson Lecture in the Humanities, to use some of these forty works, with others, to pose the question, “What is American about American art?” The question has often arisen; it was asked in almost these exact same words in 1958, by Lloyd Goodrich, then the director of the Whitney Museum of American Art. His essay was titled “What Is American—in American Art?”
And began, “One of the most American traits is our urge to define what is American. Yet my skimming survey of our sensitively diverse set of forty artworks cannot avoid these founders. Artists. Albert Kahn. Formative Years One of the most prolific architects in American history, Albert Kahn designed well over 1,000 buildings in his lifetime, undertaking an extraordinary variety of commissions, including some of the largest manufacturing plants ever constructed. Kahn possessed a number of personal traits that elicited a startling degree of professional loyalty amongst his clients,particularly the moguls Henry Ford, Henry B. Joy, Walter P. Chrysler, and the Fisher Brothers, who presided over Detroit's blossoming auto industry of the first half of the twentieth century. Kahn was a pragmatic designer, attached to no single stylistic, structural, or organizational approach.
As an accomplished collaborator, he set the standard amongst architects for assembling diverse teams of experts. The eldest of eight children, Albert Kahn was born in Rhauen, Westphalia, Germany on March 21, 1869. Kahn's Work in Detroit Returning to Detroit, Kahn rejoined Mason and Rice. Katherine Dreier and the Société Anonyme | William Clark | Variant 14. Katherine Dreier and the Société Anonyme William Clark "[America] has developed along the material rather than the immaterial, the concrete rather than the divine.
" (Katherine Dreier) 1 "The art of the new painters takes the infinite universe as its ideal, and it is to the fourth dimension alone that we owe this new measure of perfection. " (Apollinaire) "An artist expresses himself with his soul, with the soul the artwork must be assimilated. " (Marcel Duchamp) Katherine Sophie Dreier (1877-1952) was born in Brooklyn, New York. The Bride... "The American actress and feminist Elizabeth Robins introduced her into a circle of artists and literati where she met and engaged Edward Thrumbull. In 1912, in New York she became treasurer of the German Home for Recreation of Women and Children and helped to found the Little Italy Neighborhood Association in Brooklyn. "...the readers and followers of Neitzsche, Bergson, Whitman, Veblen, and often Blavatsky.
"CS: Yes. Sample Chapter for Galenson, D.W.: Old Masters and Young Geniuses: The Two Life Cycles of Artistic Creativity. This file is also available in Adobe Acrobat PDF format Chapter 1 Does creation reside in the idea or in the action? Alan Bowness, 19721 There have been two very different types of artist in the modern era. These two types are distinguished not by their importance, for both are prominently represented among the greatest artists of the era.
They are distinguished instead by the methods by which they arrive at their major contributions. In each case their method results from a specific conception of artistic goals, and each method is associated with specific practices in creating art. Artists who have produced experimental innovations have been motivated by aesthetic criteria: they have aimed at presenting visual perceptions. In contrast, artists who have made conceptual innovations have been motivated by the desire to communicate specific ideas or emotions. I seek in painting. Two of the greatest modern artists epitomize the two types of innovator. Charles Sheeler & the Ford River Rouge Plant. As part of an marketing campaign for the new Model A, an advertising agency contracted the American artist and photographer Charles Sheeler to take photographs of Ford Motor Company's newly constructed River Rouge plant in 1927. Enamored with the plant and the technological progress it foretold, Sheeler created a number of iconic images that survive today as as exemplars of the precisionist movement as well as genuine Americana.
I first found these photographs as part of Aesthetics seminar I took in college, and I've been fascinated by them ever since. It can be hard tracking down images of the Sheeler's River Rouge plant on the Internet, but quite a few are housed at the Detroit Institute of Arts website. "Criss Crossed Conveyors" recalls a Crucifix. That is not an accident. Sheeler saw the River Rouge plant as a new industrial cathedral, America's version of Notre Dame.
"Power House" has smokestacks like organ pipes. "Stream Hydraulic Shear" "Slag Buggy" "Ingot Molds" Sheeler_Site. Peristaltor: Apples v. Oranges; Exploring a Loophole in (Kinda) Competing Business Models. Some time ago, I posted about Chevron's strategic acquisition and how that affected the future of electric vehicles to this day. There is nothing new about their strategy, not at all. John D. Rockefeller, probably prompted by Henry Ford's decision to make the original Model T a flex-fuel vehicle designed to run either on gasoline or alcohol, spread his wealth and influence into the USDA and the prohibition movement, moves that precipitated the Prohibition and thus ended home-grown competition for his emerging dominance in petroleum fuels. Likewise, William Randolph Hearst protected his vast forest and paper mill holdings by joining others in the movement to criminalize hemp. For years I've been angry about this type of strategy, where the leaders of established companies use their wealth and influence to quash competition from tangental areas.
Just the other day I realized how whiny and bitchy I sounded. Let's say someone from the Grange took Standard Oil to court. Attack away! Paul Strand-Manhatta(1921)-SINC(2007) Robert Hughes - American Visions - Episode 5 (part 3/5)
Group f/64. Ansel Adams: Half Dome, Apple Orchard, Yosemite, 1933 Group f/64 was a group of seven 20th-century San Francisco photographers who shared a common photographic style characterized by sharp-focused and carefully framed images seen through a particularly Western (U.S.) viewpoint. In part, they formed in opposition to the Pictorialist photographic style that had dominated much of the early 20th century, but moreover they wanted to promote a new Modernist aesthetic that was based on precisely exposed images of natural forms and found objects.[1] Background[edit] The late 1920s and early 1930s were a time of substantial social and economic unrest in the United States.[2] The United States was suffering through the Great Depression, and people were seeking some respite from their everyday hardships. At the same time, workers throughout the country were beginning to organize for better wages and working conditions.
Imogen Cunningham: Succulent, 1920. Formation and participants[edit] "Group f/64 - Eugenics, Population Control, Racism, Birth Control. Introduction to Eugenics John Cavanaugh-O'Keefe (Prolife Activist, Researcher and Writer ) January, 1995 The principal manifestations of eugenics are racism and abortion. Eugenics is the driving force behind euthanasia, in vitro fertilization, and embryo and fetal research. Eugenics is the study of methods to improve the human race by controlling reproduction.
A Study ... Galton defined eugenics as "the science of improvement of the human race germ plasm through better breeding. " A Program ... The American Journal of Eugenics (1906) defined it as "the science of good generation" and noted that the Century Dictionary defined it (rather primly) as "the doctrine of Progress, or Evolution, especially in the human race, through improved conditions in the relations of the sexes. " In 1970, I. A Religion ... Eugenics has had a religious dimension. Huxley continued, "I find myself inevitably driven to use the language of religion. In a recent book, the confusion over the term is discussed by Diane B.
Index-Eugenics. The idea of shaving off the pitch of society to leave only the most physically and mentally fit is as old as recorded history. Sparta was one of the first, recorded, civilizations to governmentally implement the practice of societal cleansing. Spartan children, who were determined to be weak, at birth, were taken to the outlying hills of the city and left to die of exposure. Those who were allowed to live were trained to serve the state without question for the first 60 years of their lives. (Hooker) Between the years of 1933 and 1945 the Nazi party killed more than 5,900,000 Jews in a campaign to cleanse the world "impure" blood.
(Watt) Most young Americans are appalled by the Holocaust and the thought of something similar happening in America is beyond them. Hitler's campaing came to be known as the Holocaust. Funding the Eugenics Movement. The KKK in the 1920s. [Note: This discussion is intended to complement "Passing from Light into Dark. " Both deal with issues of race, ethnicity, religion, and national identity as foci of the "culture wars" of the 1920s.
This site looks at politics, broadly construed, through the prism of the Klu Klux Klan. Its counterpart looks at popular culture, again construed broadly. My hope is that together they provide a coherent view of some of the key developments of the decade. I first began serious research into the Klan and the politics of the 1920s when Charles W. Estus, Sr. and I guest curated an exhibition on the "Swedish Creation of an Ethnic Identity for Worcester, Massachusetts" at the Worcester Historical Museum, a project underwritten by a public programs grant from the National Endowment for the Humanities. Though men and women drop from the ranks they remain with us in purpose, and can be depended on fully in any crisis. How seriously are we to take Evans' claim? An American Fascism? The persistence of Eugenics. From GenEthics News issue 22, With the International Genetics Federation congress in Beijing looming, the issue of China's eugenics law is likely to be in the news again.
A particularly sensitive issue is the relationship between genetics and eugenics. This article takes a look at the history of the relationship between genetics and eugenics, and in particular at the concept and practice of 'non-directive' genetic counselling. David King What is eugenics? In discussions about the ethical and social consequences of human genetics, there is much confusion about eugenics. The dominant tendency is to view eugenics as a purely historical phenomenon, and to minimise its relevance to current debates. In the conventional definition, the key aspect of eugenics is coercion of people's reproductive choices, for social ends, which may include 'improving the quality of the population', 'preventing suffering of future generations' or reducing financial costs to the state. A form of technocracy References. Prohibition People and Terms - ProhibitionRepeal.com. The Great Scheme: Alcohol-based fuels, Ford, Rockefeller, and Prohibition.
John D. Rockefeller & Alcohol Prohibition : : Electric Monkey Pants. Charles Sheeler. Das Leben der toten Dinge megaupload, rapidshare, hotfile, fileserve ebook download. The Precisionist Movement - The City Paintings of Edward Hopper, Charles Sheeler and Georgia O'Keeffe. Die Mensch-Maschine. Technikkonzepte in der Zwischenkriegszeit anhand der Filme "Metropolis" (F. Lang) und "Enthusiasmus" (D. Vertov) | Hausarbeiten.de | Diplomarbeit. Diplomarbeit, Referat, Hausarbeit, Bachelorarbeit, Masterarbeit veröffentlichen.
Yousuf Karsh - Helden aus Licht und Schatten. Postmoderne Ästhetik - Das Verhältnis von Ästhetik, Kunst und Natur - Tabula Rasa. Einheit, Abstraktion und ... - Google Bücher. Bilder der Arbeit: eine ... - Google Bücher. Die Diktatur der Fotografie – Teil II.