Charles Sheeler : fashion, photography, and sculptural form / edited by Kirsten M. Jensen ; with essays by Donald Albrecht and Tom Mellins, Nancy Deihl, Charles Musser, Kelsey Halliday Johnson, Kirsten M. Jensen, Shawn Waldron, and Kristina Wilson.
Accompanies the exhibition of the same name held at the James A. Michener Art Museum, March 18-July 9, 2017. Includes bibliographical references and index. "Charles Sheeler: Fashion, Photography, and Sculptural Form" : March 18-July 9, 2017, James A. Michener Art Museum, Doylestown, Pennsylvania, United States.
Contents:
Director's foreword / Lisa Tremper Hanover -- Acknowledgments -- Sculptural form through the camera lens / Kirsten M. Jensen -- Figures in space : Charles Sheeler at Condé Nast / Kirsten M. Jensen -- Vanity Fair's independence day pageant / Kristina Wilson -- Condé Nast : photography pioneer / Shawn Waldron -- "Decidedly modern" : fashion in the 1920s / Nancy Deihl -- "New backgrounds for a new age" : modern design for theaters and stores / Donald Albrecht and Thomas Mellins -- Charles Sheeler and Paul Strand : friends, collaborators, rivals / Charles Musser -- Charles Sheeler and the expanded photographic field / Kelsey Halliday johnson -- List of works in the exhibition -- Contributors -- Index.
Summary:
Philadelphia native Charles Sheeler (1883-1965) is recognized as one of the founding figures of American modernism. Initially trained in impressionist landscape painting, he experimented early in his career with compositions inspired by European modernism before developing a linear, hard-edge style now known as Precisionism. Sheeler is best known for his powerful and compelling images of the Machine Age-stark paintings and photographs of skyscrapers, factories, and power plants-that he created while working in the 1920s and 1930s. Less known, and even lesser studied, is that he worked from 1926 to 1931 as a fashion and portrait photographer for Conde Nast. The body of work he produced during this time, mainly for Vanity Fair and Vogue, has been almost universally dismissed by scholars of American modernism as purely commercial, the results of a painter's "day job," and nothing more. Jensen contends that Sheeler's fashion and portrait photography was instrumental to the artist's developing modernist aesthetic.Over the course of his time at Conde Nast, Sheeler's fashion photography increasingly incorporated the structural design of abstraction: rhythmic patterning, dramatic contrast, and abstract compositions. The subjects of Sheeler's fashion and portrait photography appear pared down to their barest essentials, as sculptural objects composed of line, form, and light. The objective, distant, and rigorously formal style that Sheeler developed at Conde Nast would eventually be applied to all of his artistic forays: architectural, industrial, and vernacular.
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