The Machine as seen at the end of the mechanical age

kr2,200.00

Hultén, K. G. Pontus (ed.)

Beskrivning

The Museum of Modern Art, New York. 1968. Distr. by New York Graphic Society. 216 pages. 154 black and white illustrations, some in blue & white. Notes, bibliography, index. (25 x 22 cm), book object, perfect binding, riveted together, the folding box is missing. Book cover is made of embossed sheet metal, hinged and pop revied at spine printed in colour with a photograph of the facade of the Museum of Modern Art, designed by Anders Österlin after a photo by Alicia Legg. (Lutz Jahre 23 – 1968). Book design by John Melin and Gösta Svensson. (John Melin till exempel pp. 80-81).

Exhibitions: The Museum of Modern Art, November 25, 1968-February 9, 1969 Houston, University of St. Thomas, March 25 – May 18, 1969, San Francisco Museum of Art, June 23 – August 24, 1969

The Museum of Modern Art had originally planned an exhibition of kinetic art. Hulten developed the idea into a concept for a comprehensive show about the aesthetic and iconographic presence of the machine in art. Over 200 sculptures, constructions, pictures and collages were on display, and a film program was also organized. In addition to works of art, numerous constructions (including four cars, e.g. the Bugatti Royale and R. Buckminster Fuller’s Dymaxion Car) and reconstructions (including Tatlin’s monument for the Third International) and inventions (e.g. the Lumière brothers’ Cinématographe) were shown. Introduced by a historical prologue and beginning with Leonardo’s drawings of flying machines, the exhibition mainly featured works from the 20th century (Futurists, Dada, Surrealists, Constructivists). Marcel Duchamp, Francis Picabia and Jean Tinguely were particularly well represented. To avoid misunderstandings among the public in view of the unusual arrangement, the exhibits in the exhibition and catalogue were provided with graphic symbols that indicated whether they were an invention, a construction, a document, a work of art or something else. In a conversation, Pontus Hultén emphasized that as a curator in New York, he found excellent conditions and that he was hardly restricted in terms of concept and costs. 

However, it was a practical problem to find a workshop that could carry out embossing in sheet metal. At that time, tin toys had already been replaced by plastic products. The embossed and printed cover was then produced by a Swedish company (PLM AB Plåtmanufaktur) that normally made beer cans. Due to its special design, this catalogue attracted many buyers. Today it is a sought-after item among collectors and is rarely traded.

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