In Biblical Psychotherapy, Kalman J. Kaplan and Paul Cantz offer a new approach to suicide prevention based on biblical narratives that is designed to overcome the suicidogenic patterns in Greek and Roman stories implicit in modern mental health. More than sixteen suicides and self-mutilations emerge in the twenty-six surviving tragedies of Sophocles and Euripides and countless others occurred in Greek and Roman lives. In contrast, only six suicides are found in the Hebrew Scriptures, in addition to a number of suicide-prevention narratives. Kaplan and Cantz reclaim life-enhancing biblical narratives as alternatives to matched suicidal stories in Greek and Roman society with regard to seven evidence-based risk factors. These biblical narratives are employed to treat fourteen patients fitting into the outlined Graeco-Roman suicidal syndromes and to provide an in-depth positive psychology aimed at promoting life rather than simply preventing suicide.
Charles Olson was an important force behind the raucous, explicit, jaunty style of much of twentieth-century poetry in America. This study makes a major contribution to our understanding of his life and work. Paul Christensen draws upon a wide variety of source materials—from letters, unpublished essays, and fragments and sketches from the Olson Archives to the full range of Olson's published prose and poetry. Under Christensen's critical examination, Olson emerges as a stunning theorist and poet, whose erratic and often unfinished writings obscured his provocative intellect and the coherence of his perspective on the arts. Soon after World War II, Olson emerged as one of America's leading poets with his revolutionary document on poetics, "Projective Verse," and his now-classic poem, "The Kingfishers," both of which declared a new set of techniques for verse composition. Throughout the 1950s Olson wrote many polemical essays on literature, history, aesthetics, and philosophy that outlined a new stance to experience he called objectism. A firm advocate of spontaneous self-expression in the arts, Olson regarded the poet's return to an intense declaration of individuality as a force to combat the decade's insistence on conformity. Throughout his life Olson fought against the depersonalization of the artist in the modern age; his resources, raw verve and unedited tumultuous lyricism, were weapons he used against generalized life and identity. This volume begins with an overview of Olson's life from his early years as a student at Harvard through his short-lived political career, his rectorship at Black Mountain College, and his retirement to Gloucester to finish writing the Maximus poems. Christensen provides a systematic review of Olson's prose works, including a close examination of his brilliant monograph on Melville, Call Me Ishmael. Considerable attention is devoted to Olson's theory of projectivism, the themes and techniques of his short poems, and the strategies and content of his major work, the Maximus series. In addition, there is a critical survey of the works of Robert Creeley, Robert Duncan, Denise Levertov, Paul Blackburn, and other poets who show Olson's influence in their own innovative, self-exploratory poetry.
From the invention of skyscrapers and airplanes to the development of the nuclear bomb, ideas about the modern increasingly revolved around vertiginous images of elevation and decline and new technologies of mobility and terror from above. In The Vertical Imagination and the Crisis of Transatlantic Modernism, Paul Haacke examines this turn by focusing on discourses of aspiration, catastrophe, and power in major works of European and American literature as well as film, architecture, and intellectual and cultural history. This wide-ranging and pointed study begins with canonical fiction by Franz Kafka, Virginia Woolf, James Joyce, and John Dos Passos, as well as poetry by Guillaume Apollinaire, Hart Crane, and Aimé Césaire, before moving to critical reflections on the rise of New York City by architects and writers from Le Corbusier to Simone de Beauvoir, the films of Alfred Hitchcock and theories of cinematic space and time, and postwar novels by Kurt Vonnegut, Thomas Pynchon, and Leslie Marmon Silko, among many other examples. In tracing the rise and fall of modernist discourse over the course of the long twentieth century, this book shows how visions of vertical ascension turned from established ideas about nature, the body, and religion to growing anxieties about aesthetic distinction, technological advancement, and American capitalism and empire. It argues that spectacles of height and flight became symbols and icons of ambition as well as direct indexes of power, and thus that the vertical transformation of modernity was both material and imagined, taking place at the same time through the rapidly expanding built environment and shifting ideological constructions of "high" and "low.
The dominant model of democratic politics emphasizes reason at the expense of the passions. Passions have been treated as dangerous, the opposite of reason and the enemy of virtue. Paul Ginsborg and Sergio Labate challenge this model and put forward a very different view, developing an account of modern democratic politics in which both passions and reason play a crucial role. To do justice to the role of passions in politics, we must pay close attention to the way in which they circulate among us; then we must develop a suitable language to describe them – an ‘alphabet of the passions’ that enables us to understand how they combine with one another and connect with certain states of mind in order to shape political outcomes. Adopting this approach enables the authors to shed new light on one of the major phenomena of our time – the triumph of neoliberalism on a world scale. Neoliberalism has worked so well because it has incorporated its own romantic and individualist version of the passions into its worldview, seducing both individuals and families with the allure of consumption. By developing a new model of democratic politics based on the interplay of passions and reason, Ginsborg and Labate provide a much needed framework for understanding the crucial role that passions play in the unfolding of political life. At a time when populist leaders are on the ascendancy and political processes are shaped as much by anger, resentment and fear as they are by reason and argument, this refocusing of political analysis on the role of the passions could not be more timely.
The Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the “neutral mourning” of Barthes’ Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.
This book examines how we perceive and understand abstract art in contrast to artworks that represent reality. Philosophical, psychological and neuroscience research, including the work of philosopher Paul Crowther, are considered and out of these approaches a complex model is developed to account for this experience. The understanding embodied in this model is rooted in facet theory, mapping sentences and partially ordered analyses, which together provide a comprehensive understanding of the perceptual experience of abstract art.
In Marking Time, Paul Rabinow presents his most recent reflections on the anthropology of the contemporary. Drawing richly on the work of Michel Foucault, John Dewey, Niklas Luhmann, and, most interestingly, German painter Gerhard Richter, Rabinow offers a set of conceptual tools for scholars examining cutting-edge practices in the life sciences, security, new media and art practices, and other emergent phenomena. Taking up topics that include bioethics, anger and competition among molecular biologists, the lessons of the Drosophila genome, the nature of ethnographic observation in radically new settings, and the moral landscape shared by scientists and anthropologists, Rabinow shows how anthropology remains relevant to contemporary debates. By turning abstract philosophical problems into real-world explorations and offering original insights, Marking Time is a landmark contribution to the continuing re-invention of anthropology and the human sciences.
To Build a Shadowy Isle of Bliss casts new light on the political radicalism and social thought of nineteenth-century artist, author, and revolutionary, William Morris. Standing on the cusp of a new wave of scholarship, this book presents an exciting convergence of views among internationally renowned scholars in the field of Victorian Studies. Balancing variety and unity, this collection reappraises Morris’s concept of social change and asks how we might think beyond the institutions and epistemologies of our time. Though the political significance of Morris’s creative work is often underestimated, the essays in this volume showcase its subtlety and sophistication. Each chapter discerns the power and novelty of Morris’s radicalism within his aesthetic creations and demonstrates how his most compelling political ideas bloomed wherever his dexterous hand had been at work - in wallpapers, floral borders, medievalist romances, and verse. Morris's theory and practice of aesthetic creation can be seen as the crucible of his entire philosophy of social change. In situating Morris's radicalism at the heart of his creative legacy, and in reanimating debates about nineteenth-century art and politics, To Build a Shadowy Isle of Bliss challenges and expands received notions of the radical, the aesthetic, and the political.
A revealing study of the physical presence of the musician in musical performance Fingers slipping over guitar strings, the tap of a bow against the body of a cello, a pianist humming along to the music: contemporary composers often work with parasitic, non-conventional sounds such as these. Are they to be perceived as musical elements or do they shift attention to the physical effort of music-making, contact between a body and an instrument? Composer Paul Craenen explores ways in which the musician’s body is revealed in musical performance. He leads us from Cage, Lachenmann, Kagel and their contemporaries to a discussion of how today's generation of young composers is writing a body paradigm into composition itself. Micro-temporal physical gestures and instrumental timbre provide the key to unveiling the physical presence of both a musician and a ‘composing body’. The author's concept of ‘intercorporeality’, along with the idea of an alternating linear and non-linear relationship of the composing body to time, casts new light on the relationship between musicians, composers, and music consumers.
Conceptual gardens depend on inspiration which is the result of an exhaustive intellectual process. The starting point is an IDEA or stimulus that pushes the design along, rather than observing more conventional styles - whether classical of modernist - into which idea or relationships are fitted. Horticultural considerations, architectural or aesthetic doctrines and practically-based problem-solving are either abandoned or regarded as a means to an end, rather than the end in itself. Idea-driven design, therefore, cannot be taught by a 'rule-of-thumb' methodology. So, the way to design a conceptualist garden is not the theme of this book; nor does it contain 'of-the-peg' solutions for garden and landscape designers. Rather it encourages student and professional designers to think further towards their designed solutions.
Over the past decade, the integration of psychology and fine art has sparked growing academic interest among researchers of these disciplines. The author, both a psychologist and artist, offers up a unique merger and perspective of these fields. Through the production of fine art, which is directly informed by neuroscientific and optical processes, this volume aims to fill a gap in the literature and understanding of the creation and perception of the grid image created as a work of art. The grid image is employed (for reasons discussed in the text) to illustrate more general processes associated with the integration of vision, visual distortion, and painting. Existing at the intersection of perceptual neuroscience, psychology, fine art and art history, this volume concerns the act of painting and the process of looking. More specifically, the book examines vision and the effects of visual impairment and how these can be interpreted through painting within a theoretical framework of visual neuroscience.
Jean Baudrillard's work on how contemporary society is dominated by the mass media has become extraordinarily influential. He is notorious for arguing that there is no real world, only simulations which have altered what events mean, and that only violent symbolic exchange can prevent the world becoming a total simulation. An ideal introduction to this most singular cultural critic and philosopher, Jean Baudrillard: live theory offers a comprehensive, critical account of Baudrillard's unsettling, visionary and often prescient work. Baudrillard's relation to a range of theorists as diverse as Nietzsche, Marx, McLuhan, Foucault and Lyotard is explained, and the impact of his thought on contemporary politics, popular culture and art is analyzed. Finally, in the new interview included here, Baudrillard outlines his own position and responds to his critics.
This book gathers the commentary of people who knew the painter Paul Cezanne, especially in his later years. Now seen as one of the most influential of modern painters, in his 40s he returned to his village of Aix-en-Provence where, he worked in near obscurity and with great dedication until his death in 1906.
A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .
South Africa has a uniquely rich and diverse theatre tradition which has responded energetically to the country's remarkable transition, helping to define the challenges and contradictions of this young democracy. This volume considers the variety of theatre forms, and the work of the major playwrights and theatre makers producing work in democratic South Africa. It offers an overview of theatre pioneers and theatre forms in Part One, before concentrating on the work of individual playwrights in Part Two. Through its wide-ranging survey of indigenous drama written predominantly in the English language and the analysis of more than 100 plays, a detailed account is provided of post-apartheid South African theatre and its engagement with the country's recent history. Part One offers six overview chapters on South African theatre pioneers and theatre forms. These include consideration of the work of artists such as Barney Simon, Mbongeni Ngema, Phyllis Klotz; the collaborations of William Kentridge and the Handspring Puppet Company; the work of Magnet Theatre, and of physical and popular community theatre forms. Part Two features chapters on twelve major playwrights, including Athol Fugard, Reza de Wet, Lara Foot, Zakes Mda, Yaël Farber, Mpumelelo Paul Grootboom, Mike van Graan and Brett Bailey. It includes a survey of emerging playwrights and significant plays, and the book closes with an interview with Aubrey Sekhabi, the Artistic Director of the South African State Theatre in Pretoria. Written by a team of over twenty leading international scholars, The Methuen Drama Guide to Contemporary South African Theatre is a unique resource that will be invaluable to students and scholars from a range of different disciplines, as well as theatre practitioners.
A collection of essays examining the place of animals in history and culture and their influence on life and art, from the Renaissance to the present"--Provided by publisher.
This is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.
Information overload is a subject of vital, ubiquitous concern in our time. The Poetics of Information Overload reveals a fascinating genealogy of information saturation through the literary lens of American modernism. Although technology has typically been viewed as hostile or foreign to poetry, Paul Stephens outlines a countertradition within twentieth- and twenty-first-century literature in which avant-garde poets are centrally involved with technologies of communication, data storage, and bureaucratic control. Beginning with Gertrude Stein and Bob Brown, Stephens explores how writers have been preoccupied with the effects of new media since the advent of modernism. He continues with the postwar writing of Charles Olson, John Cage, Bern Porter, Hannah Weiner, Bernadette Mayer, Lyn Hejinian, and Bruce Andrews, and concludes with a discussion of conceptual writing produced in the past decade. By reading these works in the context of information systems, Stephens shows how the poetry of the past century has had, as a primary focus, the role of data in human life.
In Unconsolable Contemporary Paul Rabinow continues his explorations of "a philosophic anthropology of the contemporary." Defining the contemporary as a moving ratio in which the modern becomes historical, Rabinow shows how an anthropological ethos of the contemporary can be realized by drawing on the work of art historians, cultural critics, social theorists, and others, thereby inventing a methodology he calls anthropological assemblage. He focuses on the work and persona of German painter Gerhard Richter, demonstrating how reflecting on Richter's work provides rich insights into the practices and stylization of what, following Aby Warburg, one might call "the afterlife of the modern." Rabinow opens with analyses of Richter's recent Birkenau exhibit: both the artwork and its critical framing. He then chronicles Richter's experiments in image-making as well as his subtle inclusion of art historical and critical discourses about the modern. This, Rabinow contends, enables Richter to signal his awareness of the stakes of such theorizing while refusing the positioning of his work by modernist critical theorists. In this innovative work, Rabinow elucidates the ways meaning is created within the contemporary.
In A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938 Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.
What is theatre? What is performance? What connects them and how are they different? How have they been shaped by events, people, companies, practices and ideas in the twentieth and twenty-first centuries? And where are they heading next? The Routledge Companion to Theatre and Performance offers some answers to these big questions. This third edition has been updated to now include over 160 entries, with all entries brought up to date and new topics added, including Caryl Churchill, Black Lives Matter and Hamilton, among others. This book provides an accessible, informative and engaging introduction to important people and companies, events, concepts and practices that have defined the complementary fields of theatre and performance studies. Three easy-to-use alphabetized sections include entries on topics and people ranging from performance artists Marina Abramović and Pope.L to directors Vsevolod Meyerhold and Robert Wilson, the haka, Taking the Knee and disability, theatre and performance. Each entry includes important historical and contextual information, extensive cross-referencing, detailed analysis and an annotated bibliography. The Routledge Companion to Theatre and Performance is a perfect reference guide for the keen student and the passionate theatre-goer alike.
In this book, for the first time, an examination of Egon Schiele’s general painting technique is carried out. The main case study for this comprehensive investigation is the painting “Stadtende/Häuserbogen III,” 1918, one of Egon Schiele’s last works, which is housed at Universalmuseum Joanneum, Graz, Austria. In this book, the conservation campaign is detailed: uncovering portrait sketches integrated and painted over in the painting, unmasking the signature as a forgery, and recognising the frame as the original decorative frame. The research in the years following the conservation is detailed: discussing that, among other pigments, cadmium sulphide was confirmed in the paint material, which will influence subsequent conservation measures for the painting. The book’s examination continues with the complex interactions between environment and object that were also addressed in recently completed EU projects, concluding that continuously gained knowledge about external influences and storage materials used will help to adapt further measures to the painting as it continues to degrade.
This book is about the yearning for authenticity via art and exoticism. Exoticism related to art cannot be reduced to primitivism alone and also encompasses a search in one's own unconsciousness among other things. The yearning for authenticity through exoticism is explored in a cultural anthropological perspective in the realms of Western philosophy (capita selecta) and colonial literature, currents of art, and in the appreciation of Western art conceptions in non-Western societies. An array of firsthand ethnographic illustrations of art production in Asian and Pacific societies demonstrates complementary processes in the non-Western world. A major hypothesis is that exoticism is closely related to, and often motivated by eroticism, a reason why exoticism should be considered as gendered. Case studies of the falsification of authentic art, the de-sacralization of sacred objects, and of the use of natural materials deriving from endangered species complete the analysis.
The French Caribbean authors of In Praise of Creoleness (Eloge de la Créolité) exclaim, "Neither Europeans, nor Africans, nor Asians, we proclaim ourselves to be Creoles." Creoleness, therefore, becomes a metaphor for humanity in all its diversity. Unique among the many images useful for discussing diversity, Creoleness is formed within a history of injustice, oppression, and empire. Creolization offers a way of envisioning a future through the interplay between cultural diversity, injustice and oppression, and intersectionality. People of faith must embrace such metaphors and practices to be relevant and effective for ministry in the 21st century. Using biblical exposition in conversation with present day Creole metaphors and cultural research, Becoming Like Creoles seeks to awaken and prepare followers of Jesus to live and minister in a world where injustice is real and cultural diversity is rapidly increasing. This book will equip ministry readers to embrace a Creole process, becoming culturally competent and social justice focused, whether they are emerging from a history of injustice or they are heirs of privilege.
Strategies for Landscape Representation discusses a variety of digital and analogue production techniques for the representation of landscape at multiple scales. Careful consideration is required to represent time, and to ensure accuracy of representation and evaluation in the landscape. Written as a guide for making appropriate selection of a wide variety of visualisation tools for students and built environment professionals with an interest in landscape, the book charts emerging technologies and historical contexts whilst also being relevant to landscape legislation such as Building Information Modelling (BIM) and Landscape Assessment. This book is an innovation-driven text that encourages readers to make connections between software, technology and analogue modes. The management, choice and combination of such modes can arguably narrow the unknown of landscape character, address the issues of representing time and change in landscape and engage and represent communities’ perceptions and experience of landscape. Showcasing international examples from landscape architecture, planning, urban design and architecture, artists, visualisers, geographers, scientists and model makers, the vitality of making and intrinsic value of representational work in these processes and sites is evidenced. An accompanying companion website provides access to original source files and tutorials totalling over a hundred hours in mapping and GIS, diagrams and notation, photomontage, 3D modelling and 3D printing.
How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship. Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions—large-scale, temporary projects with artworks cast as illustrative fragments—came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated—and authorized—the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.
The Berlin Wall is arguably the most prominent symbol of the Cold War era. Its construction in 1961 and its dismantling in 1989 are broadly understood as pivotal moments in the history of the last century. In A Wall of Our Own, Paul M. Farber traces the Berlin Wall as a site of pilgrimage for American artists, writers, and activists. During the Cold War and in the shadow of the Wall, figures such as Leonard Freed, Angela Davis, Shinkichi Tajiri, and Audre Lorde weighed the possibilities and limits of American democracy. All were sparked by their first encounters with the Wall, incorporated their reflections in books and artworks directed toward the geopolitics of division in the United States, and considered divided Germany as a site of intersection between art and activism over the respective courses of their careers. Departing from the well-known stories of Americans seeking post–World War II Paris for their own self-imposed exile or traveling the open road of the domestic interstate highway system, Farber reveals the divided city of Berlin as another destination for Americans seeking a critical distance. By analyzing the experiences and cultural creations of "American Berliner" artists and activists, Farber offers a new way to view not only the Wall itself but also how the Cold War still structures our thinking about freedom, repression, and artistic resistance on a global scale.
Drawing Imagining Building focuses on the history of hand-drawing practices to capture some of the most crucial and overlooked parts of the process. Using 80 black and white images to illustrate the examples, it examines architectural drawing practices to elucidate the ways drawing advances the architect’s imagination. Emmons considers drawing practices in the Renaissance and up to the first half of the twentieth century. Combining systematic analysis across time with historical explication presents the development of hand-drawing, while also grounding early modern practices in their historical milieu. Each of the illustrated chapters considers formative aspects of architectural drawing practice, such as upright elevations, flowing lines and occult lines, and drawing scales to identify their roots in an embodied approach to show how hand-drawing contributes to the architect’s productive imagination. By documenting some of the ways of thinking through practices of architectural handdrawing, it describes how practices can enrich the ethical imagination of the architect. This book would be beneficial for academics, practitioners, and students of architecture, particularly those who are interested in the history and significance of hand-drawing and technical drawing.
Here, from Pulitzer Prize–winning critic Paul Goldberger, is the first full-fledged critical biography of Frank Gehry, undoubtedly the most famous architect of our time. Goldberger follows Gehry from his humble origins—the son of working-class Jewish immigrants in Toronto—to the heights of his extraordinary career. He explores Gehry’s relationship to Los Angeles, a city that welcomed outsider artists and profoundly shaped him in his formative years. He surveys the full range of his work, from the Bilbao Guggenheim to the Walt Disney Concert Hall in L.A. to the architect’s own home in Santa Monica, which galvanized his neighbors and astonished the world. He analyzes his carefully crafted persona, in which an amiable surface masks a driving ambition. And he discusses his use of technology, not just to change the way a building looks, but to revolutionize the very practice of the field. Comprehensive and incisive, Building Art is a sweeping view of a singular artist—and an essential story of architecture’s modern era.
Celebrating 20 years of collecting photographs at the Getty Museum, Photographers of Genius at the Getty spotlights the genius of 38 seminal photographers selected from the hundreds of artists represented in the collection.
Scientific Investigation of Copies, Fakes and Forgeries is a comprehensive guide to the technical and scientific study of the authenticity of a wide range of antiquities and artworks. It is the first book to provide a full survey of the subject of forgery from a scientific basis, examining a wide range of materials and techniques." "The demand for copies, fakes and forgeries is driven by rising prices in an international marketplace. The book examines the available new technologies and ever more sophisticated forging techniques, looking at production and distribution of fraudulent artworks. The subject is exemplified by numerous internationally based case studies, some turning out not to be as conclusive as is sometimes believed." "The book is aimed at those who need to understand the available approaches to and methods of scientific and technical authentication, be they curator, collector, conservator or scientist." --Book Jacket.
Decades of economic prosperity in the United States have redefined the American dream. Paul Knox explores how extreme versions of this dream have changed the American landscape. Increased wealth has led America?s metropolitan areas to develop into vast sprawling regions of?metroburbia??fragmented mixtures of employment and residential settings, combining urban and suburban characteristics. Upper-middle-class Americans are moving into larger homes in greater numbers, which leads Knox to explore the relationship between built form and material culture in contemporary society. He covers changes.
Offsetted widmet sich der Frage nach der Wertschöpfung von Natur. Das Buch des Künstlerduos Cooking Sections enthüllt Formen der Enteignung, die sich durch den Schutz – und nicht nur ihre Zerstörung – der natürlichen Umwelt aktuell verstärkt ereignen. Durch eine Reihe von künstlerischen und architektonischen Interventionen knüpft Offsetted an die weltweiten Kämpfe für Klimagerechtigkeit an und stellt den Neoliberalismus als Retter seiner eigenen ökologischen Widersprüche in Frage. So beleuchtet das Projekt beispielsweise Naturschutzmodelle, die auf »natürlichem Kapital« basieren, und schlägt neue räumliche Strategien zur De-Finanzierung der Umwelt vor. Neben einer Fotodokumentation und künstlerischen Arbeiten von Cooking Sections versammelt das Buch zahlreiche Beiträge interdisziplinär tätiger Kunstschaffenden und Forschenden.
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