mechanomorphic
TRANSCRIPT
MECHANOMORPHIC STUDENT COMPETITION
Wynwood Project and the University of Michigan invite you to submit your work to this juried student competition. (A flyer is posted in the lab (CL145) and also available for downloading on server #8 in Dr. Hanger's Course Files.) Artists are asked to submit works that confront or interpret the notion of the world's mechanical/human connection and the environmentally minded man/machine.
Submissions are due to Milly Cardoso, Gallery Director of the UM Dept. of Art & Art History on or before Nov. 17, 2010. Forsubmission guidelines see the flyer. (Submitted images require a description that includes title, medium, size of work and your name. Submit on CD or DVD. All media encouraged: multimedia, digital, photo, painting, sculpture, ceramics, graphic design, printmaking, and/or performance art.)
Submit or contact for more information:Milly Cardos, Gallery DirectorUM Art Dept.1540 Lavante Ave305-284-2542
COURSE OPTION: If you would like to work on a piece of artwork for this competition in class, you may substitute it for the first Illustrator Assignment (#5) and then switch both the due date (to Nov. 10) and the points earned to 10 (vs. 5). This illustration can be a raster image exploring some of the non-pen-tool features of illustrator and/or using Photoshop to create it.
mech·a·no·mor·phism [mek-uh-noh-mawr-fiz-uhm]
noun Philosophy.
the doctrine that the universe is fully explicable in mechanisticterms.
Caroline Jones
Profile
Caroline Jones
Director, History, Theory and Criticism Section and Professor of Art History
Room: 3-303Telephone: 617 253-5932Send e-mail
Caroline Jones studies modern and contemporary art, with a particular focus on its technological modes of production, distribution, and reception. Trained in visual studies and art history at Harvard, she did graduate work at the Institute of Fine Arts in New York before completing her PhD at Stanford University in 1992. Previous to completing her art history degree, she worked in museum administration and exhibition curation, holding positions at The Museum of Modern Art in New York (1977-83) and the Harvard University Art Museums (1983-85), and completed two documentary films. In addition to these institutions, her exhibitions and/or films have been shown at the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Hara Museum Tokyo, and the Boston University Art Gallery, among other venues. She is the recipient of fellowships from the National Endowment for the Humanities and the John Simon Guggenheim Foundation (among others), and has been honored by fellowships at the Wissenschaftskolleg zu Berlin and the Max Planck Institüt (2001-02), the Institute for Advanced Studies in Princeton (1994-95), and the Stanford Humanities Center (1986-87). Her books include Machine in the Studio: Constructing the Postwar American Artist, (1996/98, winner of the Charles Eldredge Prize from the Smithsonian Institution); Bay Area Figurative Art, 1950-1965, (1990, awarded the silver medal from San Francisco's Commonwealth Club); and Modern Art at Harvard (1985). She co-edited Picturing Science, Producing Art (1998), and has published on subjects ranging from Francis Picabia to John Cage to new media art in journals such as Critical Inquiry, Res, Science in Context, caareviews online, and Cahiers du Musée national d'art moderne. Currently finishing a manuscript on the mid-20th century art writer Clement Greenberg (forthcoming in 2004), Jones's ongoing research
interests include globalism and new media arIn May 2007, The University of Miami announced the launching of a new gallery space in the Wynwood Arts District.
UM’s Project Space was conceived to showcase exhibitions by local artists as part of the monthly Second Saturday Wynwood Gallery Walk.
Current exhibits at the University of Miami's Wynwood Project Space during Art Basel Miami Beach are Ricardo Zulueta's "Domesticated Homosapiens in Traditional Costume Circa 21st Century," -November 24 to December 15 and "Mechanomorphic: The Environmentally Minded Man/Machine," -November 29 to December 27, 2010 mechanomorphic works of art consider the notion that the machine has aided man in undermining our (lived) environment and the spread of urbanization, and yet, man must now turn to the machine in order to re/solve these issues.
The gallery is located at 2200 N.W. 2nd Avenue, Miami, FL
mech·a·no·mor·phic adj
Definition of MECHANOMORPHIC
: having the form or qualities of a machine : described inmechanical terms <a mechanomorphic God> <thismechanomorphic world, the City of Destruction from which we must all flee — Saturday Rev.>
Origin of MECHANOMORPHIC
mechan- + -morphic
Browse
Next Word in the Dictionary: mechanomorphismPrevious Word in the Dictionary: mechanocaloric effectAll Words Near: mechanomorphic
This word doesn't usually appear in our free dictionary, but the definition from our premium Unabridged Dictionary is offered here on a limited basis. Note that some information is displayed differently in the Unabridged.To access the complete Unabridged Dictionary, with an additional 300,000 words that aren't in our free dictionary
291 (magazine)291
Editor Marius de Zayas, Paul Haviland, Agnes Ernest Meyer, Alfred
Stieglitz
Frequency Monthly
Publisher Stieglitz
First issue 1915
Final issue 1916
Country United States
Language English
ISSN None
The arts and literary magazine 291 was published from 1915-1916 in New York City. It was created and
published by a group of four individuals: photographer/modern art promoter Alfred Stieglitz, artist Marius de
Zayas, art collector/socialite/poet Agnes Ernest Meyer and photographer/critic/arts patron Paul Haviland.
Initially intended as a way to bring attention to Stieglitz's gallery of the same name (291), it soon became a
work of art in itself. The magazine published original art work, essays, poems and commentaries by Francis
Picabia, John Marin, Max Jacob, Georges Ribemont-Dessaignes, de Zayas, Stieglitz and other avant-
garde artists and writers of the time, and it is credited with being the publication that introduced visual
poetry to the United States.
Background
Alfred Stieglitz was one of the most active arts promoters in the world in the early 1910s. He was already
famous for his own photography, he published the well-known magazine Camera Work and he ran the
progressive art gallery 291 in New York. After the Armory Show in 1913, a trio of artists and supporters (de
Zayas, Meyer and Haviland) gathered around Stieglitz at his gallery, encouraged by his recent interest in
promoting other art forms in addition to photography. In January 1915 they proposed the idea of starting a
new magazine that would showcase the most avant-garde art of Europe and the U.S., and at the same
time bring attention to Stieglitz's gallery. They named the new magazine after the gallery, and with
Stieglitz's blessing the four of them began working on the first issue.[1]
Compared with his other publications, Stieglitz was fairly detached from the project. He later said, "I was
more or less an onlooker, a conscious one, wishing to see what they would do so far as policy was
concerned if left to themselves."[2] Nonetheless, Stieglitz was not one to sit idly aside while something went
on around him. He helped set the tone and direction of the magazine, beginning with its design and
production.
Wanting to live up to the high standards set in Camera Work, Stieglitz and his colleagues decided to
publish two editions of the magazine: a standard subscription printed on heavy white paper and a deluxe
edition, limited to 100 copies, printed on Japanese vellum. Both were published in a large folio format (20" x
12"/50.8 cm x 30.5 cm).[1]
Each issue contained just four to six pages, sometimes hinged together to provide a fold-out spread, and
there were no advertisements. Due to its size and cutting edge presentation, it had the look and feel of a
work of art itself, not a magazine about art. It has been called a "proto-Dadaist statement" [3] in part because
much of the content was in the form of visual poetry, a literary and design format attributed to Picabia's
friend the French surrealist Guillaume Apollinaire. The design and layout was inspired by the second series
of the magazine Les Soirées de Paris, edited in France by Apollinaire, and it was de Zayas who brought
the concepts from the French magazine and put them into place in the new magazine. Because of these
influences art historian William Innes Homer has said "In design and content, there was no periodical in
America more advanced than 291.[4]
A regular subscription initially cost ten cents per issue or one dollar a year; the deluxe edition cost five
times as much. Little attempt was made to attract subscribers, and no more than one hundred signed up for
the regular edition. There were only eight known subscribers to the deluxe edition. [1]
Stieglitz had 500 extra copies printed of Issue No. 7-8, which featured his photograph The Steerage.
Because it had recently been published for the first time and attracted very positive comments, he
anticipated a huge demand for the image. The demand did not materialize, and none of the additional
copies was sold.
Only twelve numbers of 291 were published, but three of them were double numbers so just nine actual
issues were printed. It never attracted a wide audience, and the high costs of production became too much
to sustain. Stieglitz had hundreds of unsold copies at his gallery when he closed it in 1917; he sold all of
them to a rag picker for $5.80.[1]
All issues are highly valued now, and a complete set of the original issues is very rare. One of the complete
sets is in the collection of the U.S. Library of Congress in Washington, DC (LC Control No 00204566). A
bound reprint edition was published by the Arno Press in 1972 (ISSN 1054-7193) and may be found in
large university and public libraries.
[edit]Issues and content
"Voyage" by Guillaume Apollinaire. Published in291, No 1 1915
[edit]No. 1, March 1915
Cover: 291 Throws Back Its Forelock by Marius de Zayas
Page 2: How Versus Why, essay by Agnes E. Meyer
Page 3: Voyage, calligram by Guillaume Apollinaire; One Hour's Sleep--Three Dreams, text by Alfred
Stieglitz
Page 4: 291, text by Paul B. Haviland
Page 5: Oil and Vinegar Castor, drawing by Picasso; *Simultanism, essay by Marius de Zayas
Back cover: What is Rotten in the State of Denmark, drawing by Edward Steichen
Issue No. 1 set the tone for the magazine through de Zayas' cover art, a semi-abstract, geometric
drawing of a human figure entitled "291 throws back its forelock". It suggests a personification of
Stieglitz's gallery while at the same time implying that the magazine was conceived by its editors
as both a work of art and of dedicated satire of art.[2]
The issue also introduced several terms that were central to the thinking that went into the concept
of the publication, including simultanism, sincerism, unilaterals, satirism and satyrism. In an
unsigned note entitled "Simultanism", de Zayas presented the following statement of meaning:
"The idea of Simultanism is expressed in painting by simultaneous representation of different
figure of a form seen from different points of view, as Picasso and Braque did some time ago; or
by the simultaneous representation of the figure of several forms as the Futurists are doing.
In literature the idea is expressed by the polyphony of simultaneous voices which say different
things. Of course, printing is not an adequate medium, for succession in the medium is
unavoidable and a photograph is more suitable.
That the idea of simultanism is essentially naturalistic is obvious; that the polyphony of interwoven
sounds and meaning has a decided effect upon our senses is unquestionable, and that we can get
at the spirit of things through this system is demonstrable."
This text served as the magazine's manifesto, and it paid homage to the artist who was the
primary influence in the design and presentation of the publication, Apollinaire. [5] As if to confirm
this influence, Apollinaire's calligram "Voyage" was included in the center of a triptych which
formed by opening the six hinged pages of the issue.
The terms "visual poetry" and "calligram" had not yet been coined, and de Zayas later referred to
the typographically designed writing in 291 as "Psychotypes", which he defined as "art which
consists in making the typographical characters participate in the expression of the thoughts and in
the painting of the state of the soul, no more a conventional symbols but as signs having
significance in themselves."[6] De Zayas is reported to have taken both the term and its definition
from an earlier work by Amédée Ozenfant.[7]
Below the poem is Stieglitz's account of three of his own dreams. This was the first and only article
in 291 to deal with the human subconscious, and as such it is a precursor to the surrealist
explorations that would begin several years later.[8]
"Mental Reactions", poem by Agnes Ernst Meyer Apollinaire; design by Marius de Zayas.
Published in 291, No 2 1915
[edit]No. 2, April 1915
Cover: New York, drawing by Francis Picabia
Page 2: Drawing, art work by Katharine Rhoades
Page 3: Mental Reactions, poem by Agnes E. Meyer; designed by Marius de
Zayas
Back Cover: Bellovées Fatales No. 12, music by Alberto Savinio
This issue is notable for the striking full-page visual poem written by Agnes Meyer and visually
interpreted by Marius de Zayas. This piece is generally recognized as the earliest example of
visual poetry done by artists in America.[9] It is also the first in a series of poems in 291 authored by
women and presented with what were then distinctly feminine viewpoints.[10] The significance of
this artwork lies in the integration of the visual and verbal elements. The words move down the
page roughly in two columns, but the geometric shapes intersect the words and create spatial
dislocation. This is the very embodiment of simultanism as defined by Zayas, since the somewhat
random nature of the thoughts are interpenetrated by an internal logic and rhythm.[2]
The cover features a black-and-white drawing of New York buildings by Picabia surrounded by a
seemingly random collection of "tiny articles"[8]about art, music, and news items. Small pieces like
these occur in several later issues, and it is clear they are intended to be artistic messages in the
same vein as the visual art work. The second page of this issue featured a stark geometric
drawing by Katherine Rhoades, while the back cover filled with Savinio's musical concept of
sincerism.
Poems by Katharine Rhoades and Agnes Ernst Meyer; design by Marius de Zayas.
Published in 291, No 3 1915
[edit]No. 3, May 1915
Cover: design by A. Walkowitz
Page 2: I Walked into a Moment of Greatness, poem by Katharine
Rhoades
Page 3: Woman, poem by Agnes E. Meyer design by Marius de Zayas
Page 4: Le Cog Gaulois, drawing by Edward Steichen; *A Bunch of
Keys, visual poem by J.B. Kerfoot; plus several short texts.
The cover for this issue is a dramatic black-and-white design by Abraham Walkowitz that
presaged Jackson Pollock's techniques of the 1940s. The magazine opens to a two-page spread
designed by de Zayas that incorporated poems by Rhoades and Meyer. It is one of the most
forceful designs of any issue, in part because the lower right diagonal of the spread is nothing but
black ink, but the interplay between the verbal and visual elements was not as compelling as in
"Mental Reactions".[2]
The back cover featured a simple drawing by Steichen; the visual poem A Bunch of Keys by
literary critic John Barrett Kerfoot; and several small articles similar to those found on the cover of
issue No 2.
Cover of 291, No. 4, 1915. Art by John Marin
No. 4, June 1915
Cover: design by John Marin
Page 2: Fille Née Sans Mère, drawing by Francis Picabia
Page 3: Flip-Flap, by Katherine Rhoades
Back cover: Dammi L'anatema, Cosa Lasciva, essay by Alberto Savinio
The cover for this issue is filled with one of Marin's New York skyscraper drawings, a "nervous
calligraphy, combined with a disintegration of forms", suggesting the artist's "romantic attitudes
toward an urban environment wrought by technology."[2] It is accented by a hand-colored blue
swash that both segments and connects the buildings and streets, as if to suggest a river of life
running through the geometric angles of the city. On page 2, the reverse of the cover, is Picabia's
black-and-white drawing that may be seen as the reverse dimension of Marin's cityscape. It has
been described as having "anti-art proportions"[2] because of its simple lines that play off of and
counteract the harder edges seen on the cover.
Katharine Rhodes' poem on page 3 "reveals both her distance from and her proximity to
Dada"[2] by being about laughter without provoking it. By placing the poem next to Picabia's
drawing the editors created this same tension by provoking an artistic response to the drawing
while denying a similar response in the poem.
The back cover was filled with Savinio's essay on music and art, in French.
Canter, Portrait d'une Jeune Fille Américaine dans l'État de Nudité, and J'ai Vu, drawings by Francis
Picabia. 291, No. 5-6, pp 2–4, 1915.
Nos. 5-6, July–August 1915
Cover: Ici, C'est Ici Stieglitz, Foi et Amour, drawing by Francis Picabia
Page 2: Canter, drawing by Francis Picabia
Page 3: Portrait d'une Jeune Fille Américaine dans l'État de Nudité, drawing by Francis
Picabia
Page 4: De Zayas! De Zayas!, drawing by Francis Picabia
Page 5: Voila Haviland, drawing by Francis Picabia
Page 6: New York n'a pas Vu D'abord, drawing by Marius de Zayas
This issue is a visual salute by Picabia to the protagonists of the magazine, beginning with a
"portrait" of Stieglitz as a camera/car on the cover. Inside are metaphorical depictions of Picabia,
de Zayas and Haviland, all seen as some form of automobile/machine. These four images flank a
centerpiece called Portrait d'une Jeune Fille Américaine dans l'État de Nudité (Portrait of a Young
American Girl in a State of Nudity), which is a relatively straightforward drawing of a spark
plug with the words "For-Ever" on its side. Unlike the other pieces there is no indication of whom
the artist intended to portray in this piece, although at least one critic believes it is a portrait of
Agnes Meyer and thus completes the team of "drivers" behind the magazine.[11]
Some critics have interpreted these images as filled with sexual and phallic imagery,[2][12][13] yet
others have seen in them "symbols extracted from mechanical devices", filled with "faith in its
divine power to reveal life, to spur action, to excite creative impulse…"[14]
Nos. 7-8, September–October 1915
Cover: Comments on The Steerage by Paul Haviland and Marius de Zayas
Interior insert The Steerage, photograph by Alfred Stieglitz
Back cover: the same comments on the cover, translated into French
This is the only issue in which a photograph was published, a single large gravure of
Stieglitz's The Steerage inserted inside. The image is introduced on the cover by brief rhetorical
commentaries by Haviland and de Zayas that continue Picabia's mechanistic imagery from the
previous issue in a verbal form. Haviland begins with:
"We are living the age of the machine.
Man made the machine in his own image. She has limbs which act; lungs which breather; a heart
which beats; a nervous system through runs electricity. The photograph is the image of his voice;
the camera the image of his eye. The machine is his 'daughter born without a mother.' That is why
he loves her. He has made the machine superior to himself. That is why he admires her. Having
made her superior to himself, he endows the superior beings which he conceives in his poetry and
in his plastique with the qualities of machines..Man gave her every qualification except thought.
She submits to his will but he must direct her activities. Without him she remains a wonderful
being, but without aim or anatomy. Through their mating they complete one another. She bring
forth according to his conceptions."
De Zayas continues this imagery with:
"A group on men in France has flooded our inner world with the light of a new plastic expression.
Stieglitz, in America through photography, has shown us, as far as possible, the objectivity of our
outer world.
I speak of that photography in which the genius of man leaves to the machine its full power of
expression. For it is only thus that we can reach a comprehension of pure objectivity.
Objective truth takes precedence over Stieglitz in his work. By means of a machine he shows us
the outer life."
The back cover is a French translation of the front cover. There is nothing else in the issue.
"Femme (Elle)", by Marius de
Zayas; Voilà Elle, by Francis
Picabia. Published in 291, No 9
1915
[edit]No. 9, November 1915
Cover: Untitled (Still
Life), drawing by Braque
Page 2: Femme! (Elle),
typographic layout by
Marius de Zayas
Page 3: Voilà Elle,
drawing by Francis
Picabia
Back cover: Violin,
drawing by Picasso
The front and back covers were reproductions of art works that had been exhibited at the 291
gallery in January of that year. Both pieces are Cubist variations on a violin.
Inside was the visual poem Femme (Elle) by de Zayas and Picabia's machine drawing Voilà Elle,
starkly opposing and complimenting each other at the same time. Literature professor Dickran
Tashjian suggests that "the woman of the poem and the woman of the machine drawings are one
and the same…The juxtaposition of the poem and the drawing…leads the viewer into a
mechanistic universe where correspondences between the feminine ideal and the mindless
machine are overwhelming. Just as the machine ironically undercuts the ideal, the entire
mechanomorphic mythology derives its power from an inhuman eroticism. The circle is completed
as one feeds upon the other."[2]
A contemporary critic reported that "according to the artists' sworn word these works were portraits
of the same woman made at different times and in different places without collusion."[7] However, it
has been argued that if the two artists did not collaborate then de Zayas must have modeled his
composition on that of Picabia.[7]
[edit]Nos. 10-11, December 1915-January 1916
Cover:
untitled
collage by
Picasso
Page
2: Picasso,
drawing by
Marius de
Zayas
Page
3: Fantasi
e, drawing
by Francis
Picabia;
*Musique,
poem
by Georges
Ribemont-
Dessaigne
s
Back
cover: La
Vie
Artistique,
essay by
C. Max
Jacob
The inclusion of both Braque and Picasso in this issue signaled a "dispersion of 291 into non-Dada
avant-garde concerns."[2] By this time it was clear to the editors that 291 was not sustainable
financially, and they appeared to be running out of energy. While Picasso and Braque were still
controversial, the reproduction of their art was straightforward and lacking in any dynamic
connection to the rest of the contents. Picabia's drawing, subtitled "L'Homme créa Die à son
image" (Man created God in his own image), suggested Dadaist shock tactics in its Biblical
inversion of the phrase, but it's simple lines failed to create any similar visual encounter.
[edit]No. 12, February 1916
Cover:
photog
raph of
an
Ogoué
e-
Congo
Sculpt
ure
Page
2: Nar
cosis,
poem
by
Kathari
ne
Rhoad
es;
"Mode
rn
Art...N
egro
Art...",
essay
by
Marius
de
Zayas
Page
3: We
Live in
a
World..
.,
comm
entary
by
Picabi
a; Ten
nis
Player
—
Servin
g,
photog
raph of
a
sculptu
re by
Mrs. A.
Roose
velt
Back
cover:
La Vie
Artistiq
ue,
essay
by C.
Max
Jacob
The twelfth and final issue of 291 either ended things on a fairly optimistic note or continued the
ironic expression of its Dadaist roots, depending upon how one chooses to read it. It is anchored
by two short essays by de Zayas and Picabia. The former discussed African art and its influences
on Picasso, while Picabia waxed poetic about the nature of art. He ended his short essay by
saying "I maintain…that the painting of today is the most truthful and purest expression of our
modern life." Critics are unresolved about his intent in this statement; some see it as simple
appreciation of his fellow artists, while others view it as yet another Dadaist comment deriding the
current artistic scene. Given that the cover of the issue was an African mask (shown at the "Negro
Art Exhibition" at 291 in 1914), it would have been in keeping with the editors' initial spirit for
Picabia's comment to have been an ironic statement viewed in juxtaposition to the "primitive" art of
the mask.[2]
Below Picabia's comments is a photo of a sculpture by Adelheid Lange Roosevelt, an American
Cubist artist. Roosevelt was an acquaintance of de Zayas, and he exhibited some of her works at
his gallery.