Charles Sheeler was the stark poet of the machine age. Photographer
of the Ford Motor Company and founder of the painting movement
Precisionism, he is remembered as a promoter of - and apologist for
- the industrialised capitalist ethic. This major new rethink of
one of the key figures of American modernism argues that Sheeler's
true relationship to progress was in fact highly negative, his
'precisionism' both skewed and imprecise. Covering the entire
oeuvre from photography to painting and drawing attention to the
inconsistencies, curiosities and 'puzzles' embedded in Sheeler's
work, Rawlinson reveals a profound critique of the processes of
rationalisation and the conditions of modernity. The book argues
finally for a re-evaluation of Sheeler's often dismissed late work
which, it suggests, may only be understood through a radical shift
in our understanding of the work of this prominent figure.
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