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The Photography of Charles Sheeler: American Modernist
Theodore E. Stebbins
October 2002
Book Description
Considered one of the most significant American painters of the period between the two world wars, and founder of the precisionist school, Charles Sheeler (1883-1965) was also one of the pivotal photographers of the modernist movement in this country. His direct style can be likened to that of contemporaries Paul Strand, and Edward Weston. Sheeler is perhaps best-known for documenting the transformation of the American industrial landscape (in both painting and photography), and for an early series of photographs of his Doylestown, PA, house. A major retrospective dedicated to Sheeler's work is being organized by the Museum of Fine Arts, Boston, and this book will serve as the catalog.

About the Author
Gilles Mora is an independent French curator who has produced a series of...

Charles Sheeler
Charles Brock
June 2006
Book Description
Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative painting, and applied art at the School of Industrial Art in Philadelphia, Sheeler also attended the Pennsylvania Academy of the Fine Arts, where he learned an impressionistic, painterly style. He later embraced European modernism and taught himself photography. Sheeler fully absorbed the lessons of each discipline and forged his own singular approach.
This beautifully illustrated book, created to accompany a traveling exhibition of Sheeler's...

Charles Sheeler and Cult of the Machine
Karen Lucic
Oct 1993

Off the Cuffs: Poetry by and About the Police
Jackie Sheeler (Editor)
February 2003
From Booklist
Sheeler speaks truly when she says her anthology is both about police brutality and a tribute to the police. The poems in it appear in sections according to perspective. "Eyewitnesses" report everything from Rochelle Ratner's observation of police not noticing a man sleeping in a park to Sparrow's fed-up warning to New York Mayor Giuliani after "seeing" too many unarmed blacks shot by cops. In the fat heart of the book, "Victims & Perpetrators" are objects of compassion, condemnation, and mixed emotions on the parts of poets intimate with them. The "Insiders" include teachers of prisoners, correctional personnel, and one prisoner; while the "Dreamers" of the last section project visions of cops as they might be and of cops as some fantasize they are. Unjust, but not entirely baseless, rants sit next to expressions...

The Twentieth-Century Art in America: The Ebsworth Collection
Bruce Robertson
March 2000
From Library Journal
This beautifully put together catalog showcases an exhibition of 74 paintings, sculpture, and works on paper from the collection of St. Louis businessman Barney A. Ebsworth, which traveled from Washington!s National Gallery to the Seattle Art Museum this year. It!s an especially fine example of the art of collecting, with noteworthy pieces superbly exemplifying American art up to the late 1960s. There!s an invigorating range of media and schools as well, from abstract canvases by Frank Stella and Jasper Johns to landscapes by John Marin and intimate figurative work by Alice Neel, Georgia O!Keefe, and Edward Hopper. Arranged alphabetically by artist, all 74 colorplates are accompanied by almost chapter-length biocritical essays written by curatorial luminaries on the staff of the National Gallery. These short...

Debating American Modernism
Debra Bricker Balken
January 2003
From Publishers Weekly
This handsome, complexly imagined catalogue for a traveling art exhibition of the same name proffers a new, organizing schism to early-century avant-garde artmaking: namely, a division between French arch-conceptualist Marcel Duchamp and red-blooded American photographer Alfred Stieglitz, who foresaw radically different aesthetic futures for American modernism, and whose personalities set the tone of the New York art world at the time. In two well-considered essays, with rich reproductions by luminaries such as Georgia O'Keefe, Arthur Dove, and Marsden Hartley (on the Stieglitz side), and Man Ray, Francis Picabia, and Jean Crotti (on Duchamp's side), the authors trace divergent responses to artistic polarities of the day-masculine/feminine, Nature/machine-and find in both camps a similar recourse to the...

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