Skyscrapers and machines—quintessential symbols of modern life in the early twentieth century—were among Strand's last subjects as he advanced in breathtaking leaps across the landscape of artistic possibilities on the brink of World War I. Duchamp and Picabia had introduced machines into American art when they arrived in New York in 1915, and automobiles capable of going fifty miles an hour were everywhere. "Just at the present the sole ambition seems to be to roll about, day in and day out, every moment in [these] machines. Literally a rolling around in the present symbol of wealth," Alfred Stieglitz noted. Strand, interested in mechanics and cars since childhood, made photographs with the sensuousness of a youth running his hand over the voluptuous fenders of his dream machine.
Inscription: Signed and inscribed in pencil on mount, recto LR: "-Paul Strand 1917-"
Paul Strand; Alfred Stieglitz
New York. The Metropolitan Museum of Art. "Thirty Photographers: A Selection from the Museum's Collection," April 12, 1969–June 1, 1969.
The Metropolitan Museum of Art. "The Collection of Alfred Stieglitz," May 18, 1978–July 16, 1978.
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Museum of Fine Arts, Houston. "The Art of Photography 1839-1989," February 11, 1989–April 30, 1989.
Canberra. National Gallery of Australia. "The Art of Photography 1839-1989," June 17, 1989–August 27, 1989.
London. Royal Academy of Arts. "The Art of Photography 1839-1989," September 23, 1989–December 23, 1989.
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Saint Louis Art Museum. "Paul Strand," August 11, 1991–October 6, 1991.
Museum of Fine Arts, Houston. "Paul Strand," October 10, 1991–January 12, 1992.
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 9," June 12, 1995–August 28, 1995.
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The Metropolitan Museum of Art. "Charles Sheeler's Contemporaries," June 3, 2003–August 17, 2003.
The Metropolitan Museum of Art. "Stieglitz, Steichen, Strand," November 8, 2010–April 10, 2011.
Tompkins, Calvin. Paul Strand: Sixty Years of Photographs. Millerton, N.Y.: Aperture, 1976. no. 65.
Hambourg, Maria Morris. Paul Strand: Circa 1916. New York: The Metropolitan Museum of Art, 1998. no. 49.
Phillips, Lisa. The American Century: Art & Culture, 1900–1950. New York: W. W. Norton & Company, 1999. p.128.
Satista paper. This print was made from an enlarged negative. There is a 0.3 - 0.5 cm. black border surrounding the image which is included in the image size dimensions. Process was originally identified as "Satista print."