By Miles Orvell
Publication via Orvell, Miles
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Additional resources for After the Machine: Visual Arts and the Erasing of Cultural Boundaries
Yet another powerful influence was the camera, taken up in 1910 for commercial reasons, first in photographing buildings for Philadelphia architects, then in recording objects for galleries and museums (Stebbins and Keyes 2). g. in Church Street El) paring away the ornament from his painted skyscrapers, turning them into the stripped down functionalist forms they would eventually in fact become later in the decade (as, for example, in Howe and Lescaze's Philadelphia Savings Fund Society [19311 or Raymond Hood's New York McGraw Hill Building ).
These works were first visible in the United States at Alfred Stieglitz's 291 gallery in the few years before the Armory Show (1913), but the major event was the Armory Show itself, which signalled a momentous cultural shift in perception, from the canons of realism dominating nineteenth century art to the canons of cubism that would dominate the first decades of twentieth century art (Homer 62; 170). The European artists at first were generally content to formulate the new cubist vision in terms of the traditional subject matter of still lifefruit, flowers, table-top arrangements.
The world for people today is like descriptive geometry, with its infinite planes of projection" (6-7; Tashjian 120). ) Behind the idolization of the camera was the more general goal of ending the seeming hostility between science and art. But the point was not simply to bring "science and the modern" into art; the point, as Strand and others saw it, was to create almost a new way of seeing and knowing the world. Thus, Strand urged the destruction of the "wholly fictitious wall of antagonism" between science and expression (151).