Sheeler -- New York City, 1920
By 1920, Sheeler's photography had shifted from the agrarian aesthetic of Doylestown to the skyscraper skyline of his new home, New York City (Lucic 47). Here, his work continued to show the absence of human life (see figures New York, Towards the Woo lworth Building; New York, Park Row Building; and New York, Broadway at Fortieth Street and, as with the 1917 photos, it is what the photos don't show that makes them all the more telling. Sheeler avoids all signs of what Lewis M umford calls the "de-humanized" population (Lucic 46). Truly, Sheeler's representation of New York City depicts it as dirt free, void of humans, free from political strife, racial strain, and labor unrest.