Machine in a Void: World War I & the Graphic Arts

Exhibition

Stephen Goddard, curator

Kress Gallery, Spencer Museum of Art, University of Kansas, Lawrence, Kansas

Several years in the making, the Spencer-organized Machine in a Void will present nearly 150 works of graphic art made during the years of the First World War (1914-1918), with a post-script on the art of the decade following the war. By invoking the perspective of primarily European artists, the exhibition will bring attention to the substantial roles played by the graphic arts during WWI (1914-1918) as a tool for official propaganda and as means of voicing individual responses to the war ranging from documentation to dissent.

Machine in a Void is made possible by the generous support of the Breidenthal-Snyder Foundation.

The genesis of the exhibition stems from the Spencer’s acquisition of a rare and extensive treatment of the war by Belgian artist Henry de Groux in the form of nearly 50 etchings. These proofs and trial prints were preparatory to a portfolio, Le Visage de la Victoire (The Face of Victory). In his introduction to the printed series, de Groux wrote of the war as an “undeniable and colossal absurdity, like a machine functioning in a void,” an “opulent excess of perfect horror.” The Spencer’s exhibition derives its title from de Groux’s evocative expression. The central goal of the exhibition is to identify and give voice to those artists who, through their work during and shortly after WWI, renounced specific national concerns to articulate a more transcendent vision. These uncommon voices will be exhibited along with mainstream nationalistic and propagandistic works.

The exhibition will be largely drawn from the permanent collection of the Spencer Museum of Art, and will include material that may provoke discussions of the rise of ironic and ambivalent attitudes toward war, the defenselessness of innocents in the face of modern war machines, the use of the graphic arts to promote official government attitudes, and the role of mechanized warfare within the dystopian idea of the Machine Age. The Spencer's collections are rich in works from France, Belgium and Germany and the exhibited artists include Otto Dix, Kerr Eby, George Grosz, Jules de Bruycker, Henry de Groux, André Devambez, Erich Heckel, Henri Ibels, Jean-Emile Laboureur, Karl Maes, Maxime Maufra, Ludwig Meidner, Robert Michel, Johannes Molzahn, Karl Schmidt-Rotluff, Georg Scholz, Max Slevogt, Edmond van Dooren, and, Jean Veber.

Stephen Goddard, senior curator of prints & drawings, is organizing the exhibition following a sabbatical spent primarily in Germany and a fellowship at the Wolfsonian-Florida International University-one of the world’s great repositories for WWI-era material culture. In conjunction with the exhibition, the Spencer will offer programming that involves the campus and the community, including curricular initiatives at KU, a film/book series, children’s art classes, and social networking. A catalogue is planned.

Exhibition images

Works of art

Lucien Jonas (1880–1947); Devambez Printers, Journée de l'Armée d'Afrique et des Troupes Coloniales (African Army and Colonial Troops Day)

Pierre Mourgue, Journée serbe, 25 Juin 1916 (Serbia Day, June 25 1916)

A. Maksimov (active 1914–1929?), The American Ambulance in Russia, World War I

Charles Dominique Fouqueray (1869 or 1872–1956), Le Cardinal Mercier Protège Belgique (Cardinal Mercier Protecting Belgium)

Francisque Poulbot (1879–1946), Journée Du Poilu--Organiseé Par Le Parlement (Day of the Infantryman--Organized by Parliament)

George Grosz (1893–1959), Gefangen (Prisoners of War)

Lovis Corinth (1858–1925), untitled (self-portrait)

Oskar Schlemmer (1888–1943), Figure Facing Left

Franz Marc (1880–1916), Reitschule (Riding School)

Jon Blumb (born 1956); Joseph Judd Pennell (1866–1922), Harvey Muenzenmayer, Fort Riley

László Moholy-Nagy (1894–1946), untitled

El Lissitzky (1890–1941), Posten (Sentry)

Vassily Kandinsky (1866–1944), Kleine Welten VI (Small Worlds VI)

Jules de Bruycker (1870–1945), Ieperen de Slechte Maere (Ypres--the Grim Reaper)

Robert Michel (1897–1983), MEZ (Mitteleuropaische Zeit) No. 2 [CET (Central European Time) No. 2]

Daniel Chester French (1850–1931), Disarmament

Cyril Edward Power (1872–1951), The Tube Staircase

Max Kaus (1891–1977), Kopf (Self-portrait)

Miklós Farkasházy (1895–1964), Portrait of György Bàlint

Johannes Molzahn (1892–1965), Klingen (Sound)

Kerr Eby (1889–1946), September 13, 1918, St. Mihiel

Otto Dix (1891–1969), untitled (In the trenches)

Otto Dix (1891–1969), untitled (flooded craters)

Hans Windisch (1891–1965), Sonderblatt der Ausgabe A: Kopf Palmströms (Palmström's head)

Hans Windisch (1891–1965), Blatt 1: Bildhauerisches (Sculptural)

Hans Windisch (1891–1965), Blatt 2: Der Werwolf (The Werewolf)

Hans Windisch (1891–1965), Blatt 3: Der Traum der Magd (The Maid)

Hans Windisch (1891–1965), Blatt 4: Himmel und Erde (Heaven and Earth)

Hans Windisch (1891–1965), Blatt 5: Die unmögliche Tatsache (The Unlikely Fact)

Hans Windisch (1891–1965), Blatt 6: Die Mausefalle (The Mousetrap)

Hans Windisch (1891–1965), Blatt 7: Das Gebet (The Prayer)

Hans Windisch (1891–1965), Blatt 8: Die Kugeln (crumpled-paper balls)

Hans Windisch (1891–1965), Blatt 9: Der Wasseresel (The Seahorse)

Hans Windisch (1891–1965), Blatt 10: Sophie, die Henkersmagd (Sophie, the Executioner's Mate)

Jean Louis Forain (1852–1931), La Fête-Dieu à Paris (Corpus Christi in Paris)

Karl Schmidt-Rottluff (1884–1976), Trauernde am Strand (Mourners on a Beach)

Tanaka Ryōzō; Shōbidō, The Illustration of the Great European War No. 15

Francisque Poulbot (1879–1946), Laissons la d’abord donner a boire, nous la tuerons après (Let Her First Give Him a Drink, We Will Kill Her Afterward)

Jean Veber (1864–1928), Le Débuché (The Release)

Jean Veber (1864–1928), La Brute est lâchée (The Brute is Let Loose)

Jean Veber (1864–1928), Marmites-pots des fleurs-pruneaux…etc. (Pots, Flowerpots, Plums, etc.)

C. Cousin, Le Petit Poucet (Hop O'My Thumb)

Lucien Laforge, le concert au front (The Concert at the Front)

Henri Gabriel Ibels (1867–1936), L’Insomnie du Kaiser (The Kaiser's Insomnia)

Henri Gabriel Ibels (1867–1936), L’antechrist perda sa couronne et mourra dans la solitude et la démence (The Antichrist Will Lose His Crown and Will Die in Loneliness and Insanity)

Félix Jules Lacaille, Le Coup de Massue du l’un (One Knock-down Blow)

Emile Causé (1867–?), Le Kaiser Prend Le Commandement Des Armées Austro-Hongroises & Allemandes (The Kaiser Takes Command of the Austro-Hungarian and German Armies)

Joseph Sirat (1869–1936), Le Condomné (The Condemned)

Henry de Groux (1867–1930), Soldats masques (Masked Soldiers)

André Edouard Devambez (1867–1944), Les réserves (The Reserves)

Tristan Tzara (1896–1963), DADA 4-5: Anthologie Dada

Richard von Below (1879–1925), Flüchtlinge aus Stallupönen (Refugees from Stallupönen)

André Edouard Devambez (1867–1944), Un schrapnell (Schrapnell)

André Edouard Devambez (1867–1944), Le bouclier (The Shield)

André Edouard Devambez (1867–1944), L'espionne (The Spy)

André Edouard Devambez (1867–1944), La pluie (The Rain)

André Edouard Devambez (1867–1944), Le froid (The Cold)

André Edouard Devambez (1867–1944), Les otages (The Hostages)

André Edouard Devambez (1867–1944), Les trous d'obus (Shell Holes)

André Edouard Devambez (1867–1944), Gare la marmite! (Watch Out for the Big Shell!)

André Edouard Devambez (1867–1944), Le charbon (Coal)

André Edouard Devambez (1867–1944), L'incendie (Fire)

André Edouard Devambez (1867–1944), Le fou (The Crazed Man)

André Edouard Devambez (1867–1944), title page

Paul Klee (1879–1940), Der Seiltänzer (Tightrope Walker)

Henry de Groux (1867–1930), Meduse (Medusa)

Henry de Groux (1867–1930), L'Eclipse (The Eclipse)

Henry de Groux (1867–1930), Le Chanteur des couers (The Singer of Hearts)

Henry de Groux (1867–1930), Les Drapeaux (The Flags)

Henry de Groux (1867–1930), Le Guetteur (The Sentry)

Henry de Groux (1867–1930), Aveugles (The Blind)

Henry de Groux (1867–1930), Les Voyants (The Seeing)

Henry de Groux (1867–1930), Lux perpetua luceat eis (Let Perpetual Light Shine upon Them)

Henry de Groux (1867–1930), Nullo odore cum Deis prodigae

Henry de Groux (1867–1930), La Comète de la Guerre (21 Janvier 1913) [The Comet of War (21 January 1913)]

Henry de Groux (1867–1930), La Comète de la Guerre (The Comet of War)

Henry de Groux (1867–1930), Meduse, Esssai (Medusa, trial proof)

Henry de Groux (1867–1930), Avant l’inhumation (ou l’incineration) - Allemands Morts (Before the Burial (or The Incineration) - Dead Germans)

Henry de Groux (1867–1930), Prisonniers fossoyeurs (Prisoner Gravediggers)

Henry de Groux (1867–1930), Chevaliers errants (Knights Errant)

Henry de Groux (1867–1930), Lacrymogène (Teargas)

Henry de Groux (1867–1930), untitled (L’Aube) (untitled [The Dawn])

Henry de Groux (1867–1930), Soud l’oeil divin (Beneath the Divine Eye)

Henry de Groux (1867–1930), Tranchée muette (Mute Trench)

Henry de Groux (1867–1930), Le retour au foyer (The Return Home)

Henry de Groux (1867–1930), Le mauvais image (The Evil Semblance)

Henry de Groux (1867–1930), Batteries detruites (Destroyed Batteries)

Henry de Groux (1867–1930), Le souffre-douleur ennemi (The Enemy Scapegoat)

Henry de Groux (1867–1930), Combat à la grenade - ou “le concours des crapeaux” (Fight for the Grenade - or “The Beggars Brawl”)

Henry de Groux (1867–1930), Le Petroleur (The Flamethrower)

Henry de Groux (1867–1930), Indoux aux tranchées (Hindus in the Trenches)

Henry de Groux (1867–1930), L’e[n]jeu du stratege (The Wager of Strategy)

Henry de Groux (1867–1930), Le soleil des morts (The Sun of the Dead)

Henry de Groux (1867–1930), Veillée de Captifs (Captives' Vigil)

Henry de Groux (1867–1930), Le Veilleur (The Sentry)

Henry de Groux (1867–1930), L’ancètre (The Ancestor)

Henry de Groux (1867–1930), Lanceur de granade (Grenade Thrower)

Henry de Groux (1867–1930), Tranchée conquise (Conquered Trench)

Henry de Groux (1867–1930), Lanceur de granade (The Grenade Thrower)

Urlich or Kukke?, untitled (puppet maker and the heads of Europe)

Erich Heckel (1883–1970), Mann in der Ebene (Man on a Plain)

George Grosz (1893–1959), Friedrichstrasse

Georg Scholz (1890–1945), Hinrichtung (Summary Execution)

Jean-Émile Laboureur (1877–1943), Types de l'Armée Américaine en France (Types of the American Army in France)

Ernst Barlach (1870–1938), Aus einem neuzeitlichen Totentanz (From a Modern Dance of Death)

Ernst Barlach (1870–1938), Wem Zeit wie Ewigkeit und Ewigkeit wie Zeit, der ist befreit von allem Leid (If Time Was Like Eternity and Eternity Like Time, There Would Be Freedom From All Suffering)

Willy Jaeckel (1888–1944), Schlachtfeld (Battleground)

Max Slevogt (1868–1932), Symbole der Zeit IX (Trommler) (Symbols of the Time IX (Drummer))

George Grosz (1893–1959), Schwejk: “melde gehorsamst, daß ich blöd bin” (Schwejk:"Beg to report, I’m an idiot")

George Grosz (1893–1959), Volkes Stimme (The Voice of the People)

George Grosz (1893–1959), Bitte recht freundlich (Please look friendly)

George Grosz (1893–1959), Maul halten und weiter dienen (Shut Up and Do Your Duty)

George Grosz (1893–1959), Mir ist der Krieg wie eine Badekur bekommen (The War Did Me a Lot of Good, Like a Spa)

George Grosz (1893–1959), Bald wieder: "je grausamer, je humaner." (Soon Again: "the More Cruel, the More Human")

Guy Arnoux (1886–1951); Roger Boutet de Monvel, Carnet d’un permissionnaire (Notebook of a Soldier on Leave)

Edmond van Dooren, Improvisatie (Improvisation)

Maxime Maufra (1861–1918), Le Zeppelin (The Zeppelin)

Maxime Maufra (1861–1918), Les feux de nuit / dunes de Nieuport (Night Fires / Nieuport Dunes)

Maxime Maufra (1861–1918), Le cimitière des fusillés-marins à Nieuport (Marine Cemetery at Nieuport)

Maxime Maufra (1861–1918), Après le bombardement (After the Bombardment)

Maxime Maufra (1861–1918), Dans la niege (In the Snow)

Maxime Maufra (1861–1918), Poste avancé sur l'Yser (Outpost on the Yser)

Maxime Maufra (1861–1918), Torpillage du trois-mâts (Torpedoing of the Three-master)

Maxime Maufra (1861–1918), La route des Flandres (The Road to Flanders)

Maxime Maufra (1861–1918), L'usine détruite - Nieuport (Ruined Factory, Nieuport)

Franz Hein (1863–1927), Waldruine (Klein-Arnsburg) [Forest Ruins (Klein-Arnsburg)]

Franz Hein (1863–1927), Waldtalbrücke (Forest Viaduct)

Franz Hein (1863–1927), Herbststurm (Autumn Storm)

Franz Hein (1863–1927), Ruine Lützelhardt (Lützelhardt Ruins)

Franz Hein (1863–1927), Ruine Wasigenstein (Wasigenstein Ruins)

Franz Hein (1863–1927), Ruine Schönek (Schönek Ruins)

Georg Scholz (1890–1945), Gestalt Mit Tod (Figure with Death)

Maurice Busset (1879–1936), Lecture de la carte (couverture) [Reading of the chart (cover)]

Maurice Neumont (1868–1930), On Ne Passe Pas!, 1914-1918 (They Shall Not Pass! 1914-1918)

Fred Deltor (1899–1969); Les Éditions Socialistes, portfolio cover

Hermann-Paul (1864–1940), Kultur au Printemps (Kultur in Spring)

Hermann-Paul (1864–1940), Kultur en Éte (Kultur in Summer)

Hermann-Paul (1864–1940), Kultur en Automne (Kultur in Autumn)

Hermann-Paul (1864–1940), Kultur en Hiver (Kultur in Winter)

Hermann-Paul (1864–1940), Kulture au Printemps (Kultur in Spring)

Maurice Busset (1879–1936), Avion de chasse Nieuport (titre) [Nieuport Fighter Plane (title)]

Maurice Busset (1879–1936), Mécanos portant un moteur rotatif (Mechanics Carrying a Rotary Engine)

Maurice Busset (1879–1936), Bombardier et mitrailleur (Bomber and Machine Gunner)

Maurice Busset (1879–1936), Le départ, Avion SPAD (The Departure, SPAD Plane)

Maurice Busset (1879–1936), La traverse des lignes (Caught in the Crosshairs)

Maurice Busset (1879–1936), Le combat bi-moteur G.4 et Albatros (Twin-engine G.4 and Albatross Fight)

Maurice Busset (1879–1936), Monoplan M.S attaquant un LVG [Monoplane Morane-Saulnier (M.S.) attacking a Luftverkehrsgesellschaft (LVG)]

Maurice Busset (1879–1936), Flotte de Zeppelins attaquant l’Angleterre, 1916 (Fleet of Zeppelins Attacking England, 1916)

Maurice Busset (1879–1936), Combat d’hydravions et de Zeppelins, mer du Nord, 1916 (Seaplanes and Zeppelins in Combat, North Sea, 1916)

Maurice Busset (1879–1936), L’escadrille qui passe tranchées de Verdun, 1916 (The Flotilla Over the Trenches of Verdun, 1916)

Maurice Busset (1879–1936), Le fin d’un Taube, bombardements de Paris, 1915 (A Taube’s End, Bombardments of Paris, 1915)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 1: le militarisme (Militarism)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 2: la propiété (Property)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 3: la philanthropie (Philanthropy)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 4: la social-démocratie (Social Democracy)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 5: la justice (Justice)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 6: la colonization (Colonization)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 7:le fascisme (Fascism)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 8:le mouchardage (Police Spy)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 9: le parlementarisme (Parliamentary Government)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 10: l’esprit moyen (Average Mind)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 11: la religion (Religion)

Fred Deltor (1899–1969); Les Éditions Socialistes, Plate 12: la chauvinisme

Otto Haas-Heye (1879–1959), Zeit-Echo. Ein Kriegs-Tagebuch der Künstler (Time-Echo. An Artists' War Diary)

Max Pechstein (1881–1955), An Alle Künstler! (To All Artists!)

Wenzel Hablik (1881–1934), Da wohnten Menschen auf Kristall'nen Bäumen (There people lived in crystal trees)

no. 2, Francois-Joseph (Emperor Franz Josef)

no. 4, Von Moltke (General Helmuth von Moltke)

no. 5, Von Kluck (General Alexander Von Kluck)

Susanne Herrand (circa 1905–?), Semez du blé. C'est de l'or pour la France (Sow corn. It means gold for France)

Andrée Ménard (circa 1905–?), Prêez vos billets de banquet a la Franc. Prene des bons de la defense nationale (Lend your bank-notes to France. Buy national defense bonds)

Frederick Landseer Maur Griggs (1876–1938), Epiphany

Ludwig Meidner (1884–1966), Septemberschrei. Hymnen / Gebete / Lästerungen. Mit vierzehn Steindrucken (September-scream. Hymns / Prayers / Calumnies. With Fourteen Lithographs)

Félix Edouard Vallotton (1865–1925), "C'est la Guerre!" ("This is War!" or "Such is War!)

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 1

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 2

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 3

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 4

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 5

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 6

Louis Raemaekers (1869–1956), Het Toppunt der Beschaving (The Summit of Civilization), number 7

Frans Masereel (1889–1972); Servire, Gisteren Nog Misdaad ...Heden? (Yesterday's Crime ...Today?)

William Wadsworth (1889–1949), War Engine

Lyonel Feininger (1871–1956), Die Kriegsmaschine des Vierverbandes / Irgendwo muß eine Schraube los sein. (The war machine of the Quadruple Alliance / There must be a screw loose)

Erich Schilling (1885–1944), Maibild (May Picture)

Willy Jaeckel (1888–1944), Franktireurs. Aus der Mappe "Memento 1914/1915" (Geurilla Fighters. From the portfolio "Memento 1914/1915")

unknown maker, British Tank. Ypres - Poelcappelle Road (U.S. Signal Corps)

unknown maker, Road between Ypres and Poelcappelle, Belgium (U.S. Signal Corps)

unknown maker, What was once / Poelcappelle, Belgium (U.S. Signal Corps)

unknown maker, Cloth Hall, Ypres (U.S. Signal Corps)

unknown maker, German Tank, captured by 112th Inf. Bouillonville Meurthe et Morelles, Oct. 29, 1918 (U.S. Signal Corps)

unknown maker, Foret d'Argonne. Nov. 17, 1918 (U.S. Signal Corps)

unknown maker, Officers directing fire region of Fismes, Aug. 29, 1918 (U.S. Signal Corps)

unknown maker, Balloon Windlass 16th Balloon Co. 28th Div. Limey, meurth et Morelle / Oct. 25, 1918

unknown maker, 112th Field Hospital 28th Div. Cohan /Aug. 14, 1918 (U.S. Signal Corps)

unknown maker, Battery c 2nd Battalion 55th Coast Artillery / 28th Div., Region of Fismes (U.S. Signal Corps)

unknown maker, Boureuilles, Sept. 28, 1918 (U.S. Signal Corps)

unknown maker, Church at Oostniewkerke, Belgium (U.S. Signal Corps)

unknown maker, same as 24935 (U.S. Signal Corps)

unknown maker, Road between Disselghem and Waereghem (U.S. Signal Corps)

unknown maker, [...]These men are using gas equipment while receiving instructions from observer. Batt. A 108th Field Artillery (U.S. Signal Corps)

Events

March 4, 2010

Social

Spring @ the Spencer

5:30–7:00PM

Gallery 317 Central Court

March 11, 2010

Talk

One of Ours by Willa Cather

6:00–7:00PM

Gallery 407

March 11, 2010

Screening

A Very Long Engagement

7:00–9:00PM

309 Auditorium

March 25, 2010

Talk

All Quiet on the Western Front by Erich Maria Remarque

6:00–7:00PM

Lawrence Public Library, 707 Vermont St

March 25, 2010

Screening

All Quiet on the Western Front

7:00–9:00PM

Lawrence Public Library, 707 Vermont St

March 26, 2010

Talk

The Long Shadow of the “Great War”

10:00–11:30AM

Gallery 407

March 29, 2010

Talk

Machine in a Void: World War I and the Graphic Arts

2:00–4:00PM

Gallery 407

April 8, 2010

Talk

The Sun Also Rises by Ernest Hemingway

6:00–7:00PM

Gallery 407

April 8, 2010

Screening

The Sun Also Rises

7:00–9:00PM

309 Auditorium

April 10, 2010

Workshop

War of the Worlds: Pencil V. Print

10:30AM–12:30PM

Gallery 317 Central Court

April 10, 2010

Workshop

War of the Worlds: Pencil V. Print

1:30–3:30PM

Gallery 317 Central Court

April 22, 2010

Talk

Mrs. Dalloway by Virginia Woolf

6:00–7:00PM

Gallery 401

April 22, 2010

Screening

Mrs. Dalloway

7:00–9:00PM

309 Auditorium

May 1, 2010

Activity

Spring Arts & Culture Festival

1:00–4:00PM

Front Lawn, Gallery 317 Central Court

May 13, 2010

Talk

Senior Curator Steve Goddard on Machine in a Void: World War I & the Graphic Arts

12:00–1:00PM

Gallery 404

Resources

Audio

Didactic – Art Minute

Episode 211 Mar-2010, Rachel Voorhies, Department of Prints and Drawings Intern I’m David Cateforis with another Art Minute from the Spencer Museum of Art. The exhibition Machine in a Void: World War I and the Graphic Arts presents nearly 200 works of graphic art created primarily during World War I or shortly after. Many of the artists featured were themselves soldiers, and their personal experiences of the war informed their work. The images they produced range from the documentary to the dissenting. Exemplary of the former are French artist Maxime Maufra’s lithographs of war-blasted landscapes, and exemplary of the latter, German artist George Grosz’s portfolio of satirical anti-war prints. At the heart of the exhibition are 38 etchings by Belgian artist Henri de Groux, made as proofs and trial prints in preparation for the portfolio Le Visage de la Victoire, or The Face of Victory. In his introduction to this portfolio, de Groux wrote that the war was an “undeniable and colossal absurdity, like a machine functioning in a void.” Machine in a Void is on view until May 23 in the Kress and South Balcony Galleries. With thanks to Rachel Voorhies for her text, from the Spencer Museum of Art, I’m David Cateforis.

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Machine in a Void: World War I & the Graphic Arts

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