G. W. Smith
thesis of this slim volume is that kinetic sculpture stands on the
threshold of its golden age, but only to the extent that it can
rediscover its roots as an art of the machine. Despite the twentieth
century examples of Duchamp, Gabo, Tatlin, and Moholy-Nagy, this idea of
adherence to the machine must remain as a radical viewpoint, but the
author hopes to gain for it a sympathetic hearing by examining, in the
tradition of John Henry Newman's Apologia, the historic struggle to come
to terms with the principles of such an art, it being further
understood that while no amount of theorizing can turn bad art into
good, there is no major style of Western art which has not attracted to
itself a like body of critical analysis.
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