A01=Mark Rawlinson
Adornian Sense
Adorno's Aesthetic Theory
Adorno’s Aesthetic Theory
Age Group_Uncategorized
Age Group_Uncategorized
American art historiography
American modernism
Angular Representation
Artist's Late Work
Artist’s Late Work
Author_Mark Rawlinson
automatic-update
Bucks County
capitalist critique aesthetics
Category1=Non-Fiction
Category=AJB
Category=AJCD
COP=United Kingdom
critical theory art
Cubist Abstraction
Delivery_Delivery within 10-20 working days
Disappearing Subject
Early American Modernism
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Ford Commission
Ford Motor Company
Formal Dissonance
Gelatin Silver Print
industrial visual culture
Ivory Coast
Language_English
late style analysis
Lighted House
Machine Age Aesthetic
Neue Sachlichkeit
PA=Available
painting movement Precisionism
Park Row Building
photographic modernity
Photographic Vision
Price_€100 and above
PS=Active
rationalisation
River Rouge Plant
Sheeler critique of rationalisation
Sheeler's true relationship
Sheeler’s true relationship
softlaunch
Sweet Home
Twentieth Century American Art
Wanda Corn
White Barn
White Star Line
York Series
Product details
- ISBN 9781032220123
- Weight: 580g
- Dimensions: 150 x 234mm
- Publication Date: 09 Jun 2025
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
Charles Sheeler was the stark poet of the machine age. Photographer of the Ford Motor Company and founder of the painting movement Precisionism, he is remembered as a promoter of - and apologist for - the industrialised capitalist ethic. This major new rethink of one of the key figures of American modernism argues that Sheeler's true relationship to progress was in fact highly negative, his 'precisionism' both skewed and imprecise. Covering the entire oeuvre from photography to painting and drawing attention to the inconsistencies, curiosities and 'puzzles' embedded in Sheeler's work, Rawlinson reveals a profound critique of the processes of rationalisation and the conditions of modernity. The book argues finally for a re-evaluation of Sheeler's often dismissed late work which, it suggests, may only be understood through a radical shift in our understanding of the work of this prominent figure.
Lecturer in Art History at the University of Nottingham
