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The Intersection of Human and Machine: A New Divinity in Urban Art

Explore the spiritual and emotional aspects of mechanical urban landscapes through iconic artworks like Joseph Stella's "The Brooklyn Bridge" and Charles Sheeler's "American Landscape." Discover the cultural nationalism, advertising, and cultural primitivism depicted in art from the early 20th century. Uncover the complexities of the human-machine relationship in this thought-provoking exhibition.

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The Intersection of Human and Machine: A New Divinity in Urban Art

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  1. Human and machine The spiritual, the emotional in the mechanical, the urban A New Divinity Joseph Stella, "The Brooklyn Bridge," from "The Voice of the City of New York Interpreted," 1920-22. Oil and tempera on canvas. 88 x 54 “

  2. Charles Sheeler, American Landscape,1930, o/c, 24 x 31” Precisionism

  3. Sheeler, Ford Rouge,Michigan, Late 1920s Criss-Crossed Conveyors one of the most famous industrial images of the 20th century.

  4. Cultural Nationalism – the rural, the local, the folk, the past

  5. Matthew Josepson artist and his/her milieu Advertising as American exceptionalism Industry, mass production, advertising Adverts: virility “The American athlete, lover of unwarlike violence and motion is supreme in a collection of automobile announcements. His bronzed, handsome, genial visage gleams unblemished in such a statement as …….” (follows transcription of sports car advert) p. 62 (See Italian Futurism, Boccione)

  6. Edward Alden Jewel: Motley Elemental heart of the race African forest Brutality/ Slavery Gaiety Child-like abandon Cultural primitivism See definition by Arthur Lovejoy, p. 63 Holger Cahill: Kabotie Stereotyping Patronizing Assimilation Appropriation No context The white’s idea about the Indian Romanticizing/patronizing

  7. Search-Light: Georgia O’Keeffe Dark desires, simplicity Smiles, maternal splendor Peasant, strong hipped, esoteric Wisdom 1923 Red Canna, 1923

  8. Iris, 1926

  9. Against cultural primitivism Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1934, oil on canvas, 5 x 11’

  10. Archibald Motley, The Jockey Club, 1929, o/c

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