{"id":"machine-art","no":531,"name":"Machine Art","ja":"マシン・アート","era":"1934","family":"近代デザイン運動","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"The Museum of Modern Art — Machine Art (Mar 5–Apr 29, 1934)","url":"https://www.moma.org/calendar/exhibitions/1784"},"reference":{"status":"verified","pageUrl":"https://www.moma.org/calendar/exhibitions/1784","credit":"The Museum of Modern Art — Machine Art (Mar 5–Apr 29, 1934)"},"essence":"1934年にニューヨーク近代美術館が開いた展覧会の名。ばね・鍋・計器といった量産の実用品を台座に載せ、彫刻と同じ扱いで見せた。会場は19世紀の褐色砂岩館の繰形を覆い隠して作られており、無装飾の品を無装飾のまま見せることが展示の条件だった。","cues":["台座の上に、実用の量産部品がひとつずつ間隔をあけて置かれる","壁と天井の繰形が覆われ、背景の面に模様が一切ない","対象はばね、鍋、計器のように、もともと見せるために作られていない品","作者の欄に個人名ではなく製造会社の名が並ぶ"],"intents":["技術","静けさ","未来"],"works":["部品や道具を撮って並べるとき、背景と什器から模様を落として一点ずつ台に載せる","装飾のない製品を売る画面で、機能の説明を先に置かず形だけで見せる構成を試すとき"],"recipe":{"type":"品名と製造者名だけを、装飾のない一書体で小さく置く。形容詞を入れない。","layout":"一点につき台ひとつ。等間隔に並べ、背景の面には何も足さない。見切りや繰形は覆って消す。","material":"金属・ガラス・磁器の素地のまま。塗装や柄を加えず、加工の痕と光沢だけを見せる。"},"avoid":"無装飾の品を選びさえすればよいと考えると、背景と什器の装飾が残ったままになり、対象の形が周囲の模様に負ける。","colors":["#B9BEC2","#F2F1ED","#1E1F21"],"motif":"graphic","pair":["ulm-school","aeg-identity"],"study":["1934年の会場写真で、台座の高さと品の間隔がどう決められているかを見る","132ページの展覧会目録と16ページのチェックリストで、何が作者として記載されているかを確かめる","アメリア・イアハートとジョン・デューイが審査した美人投票が、どんな基準で語られたかを調べる"],"en":{"essence":"The name of an exhibition the Museum of Modern Art held in New York from March to April 1934. Springs, pots and pans and scientific instruments, all factory made and all utilitarian, were placed on pedestals and treated as sculpture. Philip Johnson screened the walls and ceilings of the museum's nineteenth century brownstone to hide its mouldings, so that undecorated objects could be seen against nothing.","cues":["Utilitarian factory parts set out one to a pedestal, spaced apart","Mouldings on walls and ceilings screened over, leaving a background with no pattern in it","The objects are springs, pans and instruments, things never made to be looked at","Manufacturers' names standing where an artist's name would normally go"],"works":["Shooting a set of parts or tools by stripping every pattern out of the background and the fixtures and giving each object its own plinth","Selling an undecorated product on a page that leads with the form alone and holds the feature copy back"],"recipe":{"type":"Only the object's name and its maker, small, in one undecorated face. No adjectives.","layout":"One plinth per object, evenly spaced, with nothing added to the background plane. Cover over any trim or moulding rather than working around it.","material":"Metal, glass and porcelain as they come from the factory. No paint and no pattern, so that tooling marks and sheen are all there is to see."},"avoid":"Assuming the work is done once the objects are undecorated leaves the room and the fixtures decorated, and the forms lose to the pattern around them.","study":["how the height of the pedestals and the spacing between objects were decided, in the 1934 installation photographs","what is recorded as authorship in the 132 page catalogue and the 16 page checklist","the terms in which the beauty contest judged by Amelia Earhart and John Dewey was discussed"]}}