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Alberto Giacometti
Andy Warhol: A Documentary Film by 
Art 21 Seasons One and Two: Art in the Twenty-first Century by 
Eero Saarinen: The Architect Who Saw the Future by 
E². Design: The Economies of Being Environmentally Conscious by 
Maya Lin: A Strong Clear Vision by 
Painters Painting: A Candid History of the New York Art Scene, 1940-1970 by 
Rivers and Tides: Andy Goldsworthy Working with Time by 
20th Century Architecture: The Structures that Shaped the Century by
A celebration of the great buildings and structures of the modern age, C20th Architecture traces every movement in architecture, from Modernism to Classicism, and details every major architect of the century past, including Frank Lloyd Wright and Mies van der Rohe. The roots of modern architecture and the rapidly changing political and social conditions of the modern era that have helped shape the structural world around us is chronicled in this one authoritative and indispensable volume.
Abstract Expressionism: Works on Paper: Selections from the Metropolitan Museum of Art by
Abstract Expressionist artists are best known for their paintings and sculptures, many of them large-scale works. This volume deals exclusively with smaller, more intimate works on paper, providing insights about the routes that led to the Abstract Expressionists' important accomplishments.
Abstract Expressionism and the Modern Experience by
A major revisionist study of the art and artists who participated in what is now regarded as the first American style of international consequence. Based on examinations of new archival material and many unknown paintings, this study relates Abstract Expressionism to the actual historical circumstances, as well as intellectual and cultural milieu, of America from the 1930s to the 1950s. Stephen Polcari reverses the traditional perspective of Abstract Expressionism as an abstract art inspired by issues of the postwar period. Examining its roots in the art of the 1930s and 1940s, he contends that Abstract Expressionism emerges as a public art that actively engaged in the social, economic, and political crises of the 1930s, and, more significantly, the experience of World War II. Polcari provides an account of the contemporary artistic, intellectual and cultural history to establish a macro-history of human beings under the pressures of war, fear, torment, and hope. Within this context, he convincingly presents Abstract Expressionism as a mode of modern, metaphysical 'history' painting that uses the forms and devices of modern art to come to terms with the brutality of contemporary history.
Abstract Video: The Moving Image in Contemporary Art by
Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive sourcebook on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings--a video artist herself--reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, "pictures of nothing," but rather amorphous, ungovernable spaces that encourage contemplation and innovation. In explorations of the work of celebrated artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, alongside emerging artists, this volume presents fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.
Alberto Giacometti by
One hundred years after his birth and a generation after his death, Alberto Giacometti is recognized as one of the small group of modern masters who dominated art during much of the 20th century. This centennial volume both celebrates his achievement and reexamines his work, contributing to a more focused concentration on the art itself. The Swiss-born Giacometti was a supremely inventive sculptor as well as a painter and draftsman of the highest distinction. Included here are many of his early Cubist-influenced and Surrealist works, often slyly humorous and allusively erotic, as well as his masterful drawings and paintings, and the elongated sculptures of the human head and figure for which he is best known. The book's three essays provide a comprehensive view of Giacometti's work and its multiple levels of meaning, examining his Surrealist years; the artist's unique concept of inner and outer vision; and his career as a whole, in formal and other terms.
Alberto Giacometti: The Art of Relation by
Alberto Giacometti's attenuated figures of the human form are among the most significant artistic images of the 20th century. Sartre, Breton, and Winnicott are just some of the great thinkers who have drawn upon the graceful, harrowing work of Giacometti, which has continued to resonate with artists, writers, and audiences. In this book, Timothy Mathews explores the themes of fragility, trauma, space, and relationality in Giacometti's art and the texts that respond or refer to them: the novels of W.G. Sebald, Samuel Beckett and Cees Nooteboom, and the theories of Bertolt Brecht, which recasts the iconic L'Homme qui marche as Walter Benjamin's Angel of History. During his lifelong quest to represent the human form, and to locate the humanity at the heart of conflicting conceptions of modernity, Giacometti returned to the key notions of depth and flatness, memory and attachment, through his sculptures and writings. Both a critical study of Giacometti's life and work, and an investigation of their affective power, this book asks what encounters with Giacometti's pieces can tell us about the history of our own time, and our ways of looking; about the nature of human attachment, and the humility of relating to art.
Andy Warhol by
In a work of great wisdom and insight, art critic and philosopher Danto delivers a compact, masterful tour of Andy Warhol's personal, artistic, and philosophical transformations.
Andy Warhol, 1928-1987: Commerce into Art by 
Andy Warhol and the Can That Sold the World by
In the summer of 1962, Andy Warhol unveiled 32 Soup Cans in his first solo exhibition at the Ferus Gallery in Los Angeles,and sent the art world reeling. The responses ran from incredulity to outrage the poet Taylor Mead described the exhibition as a brilliant slap in the face to America." The exhibition put Warhol on the map,and transformed American culture forever. Almost single-handedly, Warhol collapsed the centuries-old distinction between high" and low" culture, and created a new and radically modern aesthetic. In Andy Warhol and the Can that Sold the World , the dazzlingly versatile critic Gary Indiana tells the story of the genesis and impact of this iconic work of art. With energy, wit, and tremendous perspicacity, Indiana recovers the exhilaration and controversy of the Pop Art Revolution and the brilliant, tormented, and profoundly narcissistic figure at its vanguard.
An Architectural Life: Memoirs & Memories of Charles W. Moore by
Charles W. Moore created hundreds of buildings and outdoor spaces all over the world, including homes, museums, churches and office blocks. This text examines his work and explores what it means to inhabit and why it is vital to craft and make cities with care.
Architecture after Modernism by
Its discussion of the reshaping of urban environment focuses on London's Dockland, the most ambitious and politically sensitive development in postwar Britain. It also considers the work of lesser-known designers and women architects as well as famous international stars.
Architecture As Signs and Systems: For a Mannerist Time by
Robert Venturi exploded onto the architectural scene in 1966 with a radical call to arms in Complexity and Contradiction. Further accolades and outrage ensued in 1972 when Venturi and Denise Scott Brown (along with Steven Izenour) analyzed the Las Vegas strip as an archetype in Learning from Las Vegas. Now, for the first time, these two observer-designer-theorists turn their iconoclastic vision onto their own remarkable partnership and the rule-breaking architecture it has informed. The views of Venturi and Scott Brown have influenced architects worldwide for nearly half a century. Pluralism and multiculturalism; symbolism and iconography; popular culture and the everyday landscape; generic building and electronic communication are among the many ideas they have championed. Here, they present both a fascinating retrospective of their life work and a definitive statement of its theoretical underpinnings. Accessible, informative, and beautifully illustrated, Architecture as Signs and Systems is a must for students of architecture and urban planning, as well as anyone intrigued by these seminal cultural figures. Venturi and Scott Brown have devoted their professional lives to broadening our view of the built world and enlarging the purview of practitioners within it. By looking backward over their own life work, they discover signs and systems that point forward, toward a humane Mannerist architecture for a complex, multicultural society.
Architecture in Transition: Between Deconstruction and New Modernism by 
The Architecture of Philip Johnson by
Philip Johnson's imprint is indelibly stamped on cities across America. From New York's AT&T (now Sony) Building to his famous Glass House in Connecticut, Johnson's innovative designs and widespead influence have made him the undisputed dean of 20th-century architecture. With a foreword by Johnson himself, an essay by his biographer Hilary Lewis, and over 400 color photographs accompanied by detailed building descriptions, this is the book on Philip Johnson's architecture. The photographs were taken by Richard Payne, one of Johnson's personal photographers, who set out to document all extant buildings designed by this celebrated visionary. Johnson has produced a life's work full of surprises and groundbreaking ideas that have shaped the way we live, work, and play.
The Architecture of Richard Rogers by 
Art & The 60's: This was Tomorrow by
The myths and realities of the 'swinging sixties' provide the backdrop to this illustrated title. Examining, as it does, the widest range of visual media, this book forms a broad and comprehensive history of the art world during the 1960s.
The Artist's Reality: Philosophies of Art by
One of the most important artists of the twentieth century, Mark Rothko (19031970) created a new and impassioned form of abstract painting over the course of his career. Rothko also wrote a number of essays and critical reviews during his lifetime, adding his thoughtful, intelligent, and opinionated voice to the debates of the contemporary art world. Although the artist never published a book of his varied and complex views, his heirs indicate that he occasionally spoke of the existence of such a manuscript to friends and colleagues. Stored in a New York City warehouse since the artist s death more than thirty years ago, this extraordinary manuscript, titled "The Artist s Reality, "is now being published for the first time. Probably written around 194041, this revelatory book discusses Rothko s ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of American art, and much more. "The Artist s Reality" also" "includes an introduction by Christopher Rothko, the artist s son, who describes the discovery of the manuscript and the complicated and fascinating process of bringing the manuscript to publication. The introduction is illustrated with a small selection of relevant examples of the artist s own work as well as with reproductions of pages from the actual manuscript. "The Artist s Reality "will" "be a classic text for years to come, offering insight into both the work and the artistic philosophies of this great painter."
Aurora Place: Renzo Piano Sydney by
Rarely does a new development act as a fitting counterpoint to a city's natural features. However, with the Aurora Place/Macquarie Apartments complex, the critically acclaimed architect, Renzo Piano, has made a major addition to the Sydney city skyline.
Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture by
Linda S. Kauffman turns the pornography debate on its head with this audacious analysis of recent taboo-shattering fiction, film, and performance art. Investigating the role of fantasy in art, politics, and popular culture, she shows how technological advances in medicine and science (magnetic resonance imaging, computers, and telecommunications) have profoundly altered our concepts of the human body. Cyberspace is producing new forms of identity and subjectivity. The novelists, filmmakers, and performers in Bad Girls and Sick Boys are the interpreters of these brave new worlds, cartographers who are busy mapping the fin-de-millennium environment that already envelops us. Bad Girls and Sick Boys offers a vital and entertaining tour of the current cultural landscape. Kauffman boldly connects the dots between the radical artists who shatter taboos and challenge legal and aesthetic conventions. She links writers like John Hawkes and Robert Coover to Kathy Acker and William Vollmann; filmmakers like Ngozi Onwurah and Isaac Julien to Brian De Palma and Gus Van Sant; and performers like Carolee Schneemann and Annie Sprinkle to the visual arts. Kauffman's lively interviews with J. G. Ballard, David Cronenberg, Bob Flanagan, and Orlan add an extraordinary dimension to her timely and convincing argument.
Barnett Newman and Heideggerian Philosophy by
As a major member of the New York School, Barnett Newman is celebrated for his radical explorations of color and scale and, as a precursor to the Minimalist movement, for his significant contribution to the development of twentieth-century American art. But if his reputation and place in history have grown progressively more secure, the work he produced remains highly resistant to interpretation. His paintings are rigorously abstract, and his writings full of references to arcane metaphysical concepts. Frustrated over their inability to reconcile the works with what the artist said about them, some critics have dismissed the paintings as impenetrable. The art historian Yve-Alain Bois called Newman "the most difficult artist" he could name, and the philosopher Jean-Fran ois Lyotard declared that "there is almost nothing to 'consume' in his work], or if there is, I do not know what it is." In order to advance interpretation, this book investigates both Newman's writings and paintings in light of ideas articulated by one of Germany's most important and influential philosophers: Martin Heidegger. Many of the themes explored in Newman's statements, and echoed in the titles of his paintings, betray numerous points of intersection with Heidegger's philosophy: the question of origins, the distinctiveness of human presence, a person's sense of place, the sensation of terror, the definition of freedom, the importance of mood to existence, the particularities of art and language, the impact of technology on modern life, the meaning of time, and the human being's relationship to others and to the divine. When examined in the context of Heideggerian thought, these issues acquire greater concreteness, and, in turn, their relation to the artist's paintings becomes clearer. It is the contention of this book that, at the intersection of art history and philosophy, an interdisciplinary framework emerges wherein the artist's broader motivations and the specific meanings of his paintings prove more amenable to elucidation.
Bearing Witness: Contemporary Works by African American Women Artists by 
The Black Hole of the Camera: The Films of Andy Warhol by 
Boundaries by
"Walking through this park-like area, the memorial appears as a rift in the earth -- a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole..." So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the "Vietnam Veterans Memorial" in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the unashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Cent
British Pop Art and Postmodernism by
British Pop Art was seen as an integral, even central, part of social change in the Sixties. It was a movement that developed innovative ways of dealing with reality, both reflecting on and participating in the culture. Its aesthetics was often homogeneous with the industrial, with the mass-produced, and, hence, with the artificial, manufactured character of the urban environment. This discontinuity in the traditional approach towards artistic creation furthered the globalization of diversity, which constitutes the abiding concern of postmodern art. Drawing from postmodern thought and cultural analysis, this book critically examines British Pop Art within the broad interdisciplinary domain of social and cultural changes that led to flexibility in conceptualization, and, as such, provides a contribution to the artistic processes which form and deform the cultural sphere, confirming its relevance to current debates in which questions of postmodern aesthetics prominently figure.
Building Art: The Life and Work of Frank Gehry by
"This first full-fledged critical biography of Frank Gehry presents and evaluates the work of a man whom fifty architects, critics, and historians assembled by Vanity Fair designated "the most important architect in the world." It discusses at length his major buildings- from his own house--an "exploded" Dutch Colonial in Santa Monica--to the Guggenheim Museum in Bilbao, which has almost single-handedly transformed contemporary architecture. It considers the work in light of Gehry's personal life- the influence of his immigrant grandparents, his two marriages, his close relationships to an unusual circle of celebrated clients and friends, his longtime therapist. It analyzes his carefully created "aw, shucks" persona and the intense ambition it masks; examines Gehry's anxieties about fame and how his "outsider" status as a Los Angeles architect allowed him to experiment in useful ways; and finally discusses how he thinks about and employs technology to change not just the way a building can look but the way architecture itself is practiced."
Christo by
Examines the Bulgarian-born artist's major works, such as Surrounded Islands, Running Fences, and the Pont Neuf Wrapped, which are catagorized as both sculptures and performance art.
Christo and Jeanne-Claude by
Nearly 40 years after their first wrapping of a public building, this book celebrates the artistic production of Christo and Jeanne-Claude, the artist-couple who came into view in the second half of the 20th century. The catalogue presents the couple's artistic evolution from 1958 to the present.
Christo and Jeanne-Claude: On the Way to The Gates, Central Park, New York City by
This remarkable book documents Christo and Jeanne-Claude's long-awaited Gates installation in Central Park. It includes an illustrated introduction that surveys the artists' many innovative public projects, reproductions of their preparatory work for the Gates, and four unpublished interviews.
Cindy Sherman's Office Killer: Another Kind of Monster by
One of the twentieth century's most significant artists, Cindy Sherman has quietly uprooted conventional understandings of portraiture and art, questioning everything from identity to feminism. Critics around the world have taken Sherman's photographs and extensively examined what lies underneath. However, little critical ink has been spilled on Sherman's only film, Office Killer, a piece that plays a significant role both in Sherman's body of work and in American art in the late twentieth century. Dahlia Schweitzer breaks the silence with her trenchant analysis of Office Killer and explores the film on a variety of levels, combating head-on the art world's reluctance to discuss the movie and arguing instead that it is only through a close reading of the film that we can begin to appreciate the messages underlying all of Sherman's work. The first book on this neglected piece of an esteemed artist's oeuvre, Cindy Sherman's "Office Killer" rescues the film from critical oblivion and situates it next to the artist's other iconic works.
Claes Oldenburg and Coosje Van Bruggen, Cleveland's Free Stamp by
In 1985, the Sohio oil company commissioned Claes Oldenburg and Coosje van Bruggen to design and construct a large outdoor sculpture for its new corporate headquarters in Cleveland, Ohio. The result was Free Stamp, a bold and distinctive installation that captured both a Pop Art sensibility and a connection to the city's industrial past. Sohio executives approved the design, and work was already underway, when British Petroleum acquired the company. The new owners quickly decided that the sculpture was "inappropriate" for their building and attempted to rid themselves of Free Stamp by donating it to the city of Cleveland--a gift that the city initially had no desire to accept. After much debate and public protest, the sculpture found a home in Willard Park, where it stands today. This is the first study of any sculpture by Oldenburg and van Bruggen to examine the genesis of their art from conception to installation. Edward J. Olszewski has put together a fascinating narrative based on interviews with the artists, archival material from city records, and in-house corporate memoranda, as well as letters to the editor and political cartoons. He traces the development of the sculpture from the artists' first sketches and models to the installation of the completed work in its urban environment.
Computer Graphics: Principles and Practice by
This work on computer graphics presents examples in the C programming language, and illustrates the techniques presented. It details programming with SRGP, a simple but powerful raster graphics package. Important algorithms in 2D and 3D graphics are detailed for easy implementation, and a thorough presentation of the mathematical principles of geometric transformations and viewing are included.
Contract with the Skin by
Focusing on 1970s performance artists Vito Acconci, Chris Burden, Gina Pane, and collaborators Marina Abramovic accent over c]/Ulay as well as those with similar sensibilities from the late 1980s onward (Bob Flanagan, David Wojnarowicz, Simon Leung, Catherine Opie, Ron Athey, Lutz Bacher, and Robby Garfinkel), OOCODell provides photographic documentation of performances and quotations from interviews with many of the artists. Throughout, OOCODell asks what we can do about the institutionalized forms of masochism for which these performances are metaphors."
Conversations with Mies Van der Rohe by
It has been said that modernist legend Mies van der Rohe's thirty years spent working in America reflected his mostconsistent and mature efforts toward achieving his goal of a new architecture for the twentieth century. Focusing on this American period,Conversations with Mies van der Rohe, the latest addition to our Conversations series, gives fresh credence to this claim by presenting the architect's most important design concerns in his own words. In this collectionof interviews Mies talks freely about his relationship with clients, the common language he aimed for in his architecturalprojects, the influences on his work, and the synthesis of architecture and technology that he advanced in his designs and built works. Conversations with Mies van der Rohe makes an important contribution to the corpus of Mies scholarship. It presents a vivid picture of a master of modernism, bringing his artistic biography to a close while completing the scope of his style in terms of techniques, scale, use of materials, and typology. An essay by Iaki balos provides a context for these interviews and looks at Mies's legacy from a contemporary perspective.
Critical Architecture and Contemporary Culture by
The third volume in the University of California Humanities Research Institute Series, this book brings together prominent literary theorists and architects to offer a variety of perspectives on the relation between postmodernism and architecture. The contributors include such luminaries from the forefront of literary studies as J. Hillis Miller, Jacques Derrida, and Jean-Francois Lyotard; the architects Peter Eisenman, Frank Gehry, and Robert Stern offer their perspectives on the critical role of architecture and contemporary culture. The high caliber of the discourse and the variety of approaches included will draw a scholarly audience from a wide range of disciplines.
Daniel Libeskind
Since leaving a career in classical music in 1979 to focus solely on architecture, Daniel Libeskind's highly unconventional approach to design has riveted the interest of students and young practitioners of architecture and design around the world. This book on Libeskind's extraordinary work -- inspired by his almost constant interaction with students and young architects and designers -- is, in true Libeskind fasion, unlike any other architecture or design book yet published. Here, as Gehry Talks did to a lesser extent, the focus is on the individual underlying processes that are the foundation of Libeskinds's concepts. By revealing for the first time in print his project proposal texts, letters to and from colleagues and friends, excerpts from lauded speeches and lecture, and Libeskind-related articles from international newspapers and magazines -- beginning with his first major project of 1979 and moving ahead to the year 2001 -- this book presents Libeskinds's experience of being a young practitioner with an unconventional approach to becoming a high-profile, and often controversial architect and educator. Complementing the brilliantly insightful textual material are his drawings and full-color images of his project models. finished projects, and projects in progress.
Daniel Libeskind, Radix-Matrix: Architecture and Writings by
"Daniel Libeskind represents a unique attempt to provide a comprehensive critical analysis of Libeskind's architecture and philosophy. Libeskind serves as the mediator of his own work, exploring various projects through an illuminating juxtaposition of textual commentary with illustrations of competition models, concept drawings, and site photos of realized works. Essays by Jacques Derrida and Mark C. Taylor, among others, provide a critical analysis of Libeskind's architecture, identifying his place within the context of contemporary architecture and theory. The book concludes with a collection of Libeskind's most important essays, many of which are published here in English for the first time."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
De Kooning by
Willem de Kooning is one of the most important artists of the twentieth century, a true “painter’s painter” whose protean work continues to inspire many artists. In the thirties and forties, along with Arshile Gorky and Jackson Pollock, he became a key figure in the revolutionary American movement of abstract expressionism. Of all the painters in that group, he worked the longest and was the most prolific, creating powerful, startling images well into the 1980s. The first major biography of de Kooning captures both the life and work of this complex, romantic figure in American culture. Ten years in the making, and based on previously unseen letters and documents as well as on hundreds of interviews, this is a fresh, richly detailed, and masterful portrait. The young de Kooning overcame an unstable, impoverished, and often violent early family life to enter the Academie in Rotterdam, where he learned both classic art and guild techniques. Arriving in New York as a stowaway from Holland in 1926, he underwent a long struggle to become a painter and an American, developing a passionate friendship with his fellow immigrant Arshile Gorky, who was both a mentor and an inspiration. During the Depression, de Kooning emerged as a central figure in the bohemian world of downtown New York, surviving by doing commercial work and painting murals for the WPA. His first show at the Egan Gallery in 1948 was a revelation. Soon, the critics Harold Rosenberg and Thomas Hess were championing his work, and de Kooning took his place as the charismatic leader of the New York school—just as American art began to dominate the international scene. Dashingly handsome and treated like a movie star on the streets of downtown New York, de Kooning had a tumultuous marriage to Elaine de Kooning, herself a fascinating character of the period. At the height of his fame, he spent his days painting powerful abstractions and intense, disturbing pictures of the female figure—and his nights living on the edge, drinking, womanizing, and talking at the Cedar bar with such friends as Franz Kline and Frank O’Hara. By the 1960s, exhausted by the feverish art world, he retreated to the Springs on Long Island, where he painted an extraordinary series of lush pastorals. In the 1980s, as he slowly declined into what was almost certainly Alzheimer’s, he created a vast body of haunting and ethereal late work. This is an authoritative and brilliant exploration of the art, life, and world of an American master.
Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by
The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance--including what he calls postmodernism's denial of the new--and offers a series of boldly original arguments in their place.
The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970-2007 by
Judy Chicago's monumental art installation The Dinner Party was an immediate sensation when it debuted in 1979, and today it is considered the most popular work of art to emerge from the second-wave feminist movement. Jane F. Gerhard examines the piece's popularity to understand how ideas about feminism migrated from activist and intellectual circles into the American mainstream in the last three decades of the twentieth century. More than most social movements, feminism was transmitted and understood through culture--art installations, Ms. Magazine, All in the Family, and thousands of other cultural artifacts. But the phenomenon of cultural feminism came under extraordinary criticism in the late 1970s and 1980s Gerhard analyzes these divisions over whether cultural feminism was sufficiently activist in light of the shifting line separating liberalism from radicalism in post-1970s America. She concludes with a chapter on the 1990s, when The Dinner Party emerged as a target in political struggles over public funding for the arts, even as academic feminists denounced the piece for its alleged essentialism. The path that The Dinner Party traveled--from inception (1973) to completion (1979) to tour (1979-1989) to the permanent collection of the Brooklyn Museum (2007)--sheds light on the history of American feminism since 1970 and on the ways popular feminism in particular can illuminate important trends and transformations in the broader culture.
Donald Judd by
Donald Judd's "specific objects" (as he termed them) undertook a revolutionary analysis and redefinition of sculpture, establishing him as a leading exponent of what came to be called Minimalism. Somewhat less known are Judd's numerous architectural and furniture designs, works which formally are closely related to his art objects, but which reflect his abiding interest in utility. In 1971, Judd bought an old fort near Marfa, Texas, and by systematically acquiring and transforming local property, he amassed a huge ensemble of contemporary art, with permanent installations of his own work and that of Carl Andre, John Chamberlain, Dan Flavin and others. Donald Judd: Architecture presents drawings, design sketches, ground plans and photographs of the grounds and architecture of this Minimalist desert oasis, and celebrates Judd's role as its visionary architect and stage director. This book first appeared in German in 1991, and has been thoroughly revised and expanded for this, its first English edition.
Drawing Now: Eight Propositions by 
Earthwards: Robert Smithson and Art after Babel by
The death of Robert Smithson in 1973 robbed postwar American art of an unusually creative practitioner and thinker. Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the limitations of the museum prefigures key themes in postmodern criticism while underscoring the uniqueness of Smithson's own work as an artist, filmmaker, and writer. Gary Shapiro's elegant and incisive study of Smithson's career is the first book to address the full range of the artist's dazzling virtuosity. Ranging from Smithson's best known works such as Spiral Jetty and Partially Buried Woodshed to his photographs, films, and theoretical readings and writings, Shapiro's masterful book analyzes Smithson's art in relation to the legacy of American art of the 1960s and central philosophical themes in its contemporary reception.
Eero Saarinen by
For more than half a century people have marveled at the sweeping forms of the Trans World Airlines terminal at John F. Kennedy Airport in New York, lined up to enter the St. Louis Gateway Arch, and admired the mid-century modern lines of Knoll’s Womb and Tulip chairs. Yet few outside the architecture profession can name the designer of these wide-ranging projects: the Finnish-American architect Eero Saarinen (1910–1961). Saarinen made the cover of TIME magazine in 1956, heralded as a key practitioner of postwar modernism. He counted among his clients several of the world’s most powerful corporations and educational institutions (among them General Motors, IBM, Yale University and the Massachusetts Institute of Technology), and pioneered the development of new materials and building technologies. Yet in the decades following his death, interest in his work waned and much of his archive became difficult to access This highly anticipated monograph is the first major publication on Eero Saarinen since the early 1960s and fills a significant gap in Saarinen scholarship. Written in an accessible, journalistic style, it will be of interest to architects and students as well as general readers interested in the significant figures of twentieth-century modernism
Eero Saarinen, 1910-1961 by
Sculptural structures; "Each age must create its own architecture out of its own technology and one which is expressive of its own Zeitgeist--the spirit of the time". - Eero Saarinen Eero Saarinen (1910-1961) was one of the 20th century`s great visionaries, both in the fields of furniture design (he created the ubiquitous Knoll "Tulip" chairs and tables, for example) and in architecture. Among his greatest accomplishments are monuments that shaped architecture in postwar America and became icons in themselves: Washington D.C.'s Dulles International Airport, the very sculptural and fluid TWA terminal at JFK Airport in New York, and the 630-foot high "Gateway to the West," the Arch of St. Louis. Marrying curves and dynamic forms with a Modernist aesthetic, he brought a whole new dimension to architecture.;About the Series: Each book in TASCHEN's Basic Architecture Series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans)
Eero Saarinen: Furniture for Everyman by
One of the most celebrated, prolific, and unorthodox architects and designers of the twentieth century, Eero Saarinen has become a beacon of American modernism. While famous for his sculptural and bold architecture, such as the Gateway Arch in St. Louis, Missouri and the TWA Terminal at the John F. Kennedy International Airport in New York, Eero Saarinen: Furniture for Everyman is the first monograph to focus exclusively on his furniture designs. A self-declared "form-giver," his furniture, like his architecture, is characterized by its sleek and expressive forms. Taken into production by the furniture company Knoll, which was co-owned by his friend Florence Knoll, Saarinen's designs were trend-setting and revolutionary. As many of them continue to be produced today, such as the well-known and loved Womb chair and his Pedestal Collection, they are ubiquitous. Featuring rare and never-before-seen archival photographs that span Saarinen's technical work to his personal life, a preface by Florence Knoll, and a piece by designer and Saarinen prot g Niels Diffrient, Eero Saarinen: Furniture for Everyman is the authoritative and comprehensive guide to the furniture designs and legacy of the modern master.
Eero Saarinen: Shaping the Future by
The most authoritative book to date on the life and work of Eero Saarinen, one of the most influential architects of the 20th century From the swooping concrete vaults of the TWA Terminal at JFK Airport to the 630-foot-tall Gateway Arch in St. Louis, the iconic designs of Eero Saarinen (1910-1961) captured the aspirations and values of mid-20th-century America. Potent expressions of national power, these and other Saarinen-designed structures--including the GM Technical Center, Dulles International Airport, and John Deere headquarters--helped create the international image of the United States in the decades following World War II. Eero Saarinen: Shaping the Future offers a new and wide-ranging look at the entire scope of Saarinen's career. This is the first book on Saarinen to incorporate significant research and materials from the newly available archives of his office, and includes the most complete portfolio of Saarinen's projects to date--a chronological survey of more than 100 built and unbuilt works, previously unpublished photographs, plans, and working drawings. Lavishly illustrated, this major study shows how Saarinen gave his structures an expressive dimension and helped introduce modern architecture to the mainstream of American practice. In his search for a richer and more varied modern architecture, Saarinen became one of the most prolific and controversial practitioners of his time.
Embodied Avatars: Genealogies of Black Feminist Art and Performance by
How black women have personified art,expression,identity, and freedom through performance Winner, 2016 William Sanders Scarborough Prize, presented by the Modern Language Association for an outstanding scholarly study of African American literature or culture Winner, 2016 Barnard Hewitt Award for Outstanding Research in Theatre History, presented by the American Society for Theatre Research Winner, 2016 Errol Hill Award for outstanding scholarship in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment. McMillan reframes the concept of the avatar in the service of black performance art, describing black women performers' skillful manipulation of synthetic selves and adroit projection of their performances into other representational mediums. A bold rethinking of performance art, Embodied Avatars analyzes daring performances of alterity staged by "ancient negress" Joice Heth and fugitive slave Ellen Craft, seminal artists Adrian Piper and Howardena Pindell, and contemporary visual and music artists Simone Leigh and Nicki Minaj. Fusing performance studies with literary analysis and visual culture studies, McMillan offers astute readings of performances staged in theatrical and quotidian locales, from freak shows to the streets of 1970s New York; in literary texts, from artists' writings to slave narratives; and in visual and digital mediums, including engravings, photography, and video art. Throughout, McMillan reveals how these performers manipulated the dimensions of objecthood, black performance art, and avatars in a powerful re-scripting of their bodies while enacting artful forms of social misbehavior. The Critical Lede interview with Uri McMillan
The Engagement Aesthetic: Experiencing New Media Art through Critique by
Long after painting, sculpture, photography, and film developed along with their materials - canvas and panel, marble and bronze, and celluloid film - a new generation of art has emerged in which digital, electronic, architectural, and performative materials have offered new forms for creative expression and experience. In much of this new art, the medium - no longer composed of passive materials - now embraces and challenges viewers to work as co-creators of aesthetic experience. Starting from the impossibility of understanding this new and complex art solely within the framework of contemporary art history and criticism, The Engagement Aesthetic offers new modes of critique for new media works of art, literature, and performance that operate in complex ways. Blending a range of methodologies from phenomenology, art history, linguistics, and statistical analysis, Ricardo explores how a new kinship between individual participation, electronic media, virtual and actual space, and mediated language results in a new aesthetic of mutual engagement.
Entering the Picture: Judy Chicago, the Fresno Feminist Art Program, and the Collective Visions of Women Artists by
In 1970, Judy Chicago and fifteen students founded the groundbreaking Feminist Art Program (FAP) at Fresno State. Drawing upon the consciousness-raising techniques of the women's liberation movement, they created shocking new art forms depicting female experiences. Collaborative work and performance art - including the famous "Cunt Cheerleaders" - were program hallmarks. Moving to Los Angeles, the FAP produced the first major feminist art installation, Womanhouse (1972). Augmented by thirty-seven illustrations and color plates, this interdisciplinary collection of essays by artists and scholars, many of whom were eye witnesses to landmark events, relates how feminists produced vibrant bodies of art in Fresno and other locales where similar collaborations flourished. Articles on topics such as African American artists in New York and Los Angeles, San Francisco's Las Mujeres Muralistas and Asian American Women Artists Association, and exhibitions in Taiwan and Italy showcase the artistic trajectories that destabilized traditional theories and practices and reshaped the art world.　 An engaging editor's introduction explains how feminist art emerged within the powerful women's movement that transformed America. Entering the Picture is an exciting collection about the provocative contributions of feminists to American art.
Experimental Film and Video: An Anthology by
The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.
Felt: Fluxus, Joseph Beuys, and the Dalai Lama by
Felt provides a nonlinear look at the engagement of the postwar avant-garde with Eastern spirituality, a context in which the German artist Joseph Beuys appears as an uneasy shaman. Centered on a highly publicized yet famously inconclusive 1982 meeting between Beuys and the Dalai Lama, arranged by the Dutch artist Louwrien Wijers, Chris Thompson explores the interconnections among Beuys, the Fluxus movement, and Eastern philosophy and spiritual practice. Building from the resonance of felt, the fabric, in both Tibetan culture and in Beuysas art, Thompson takes as his point of departure Deleuze and Guattarias discussion in A Thousand Plateaus of felt as smooth space that is in principle infinite, open, and unlimited in every direction, A its structure determined by chance as opposed to the planned, woven nature of most fabrics. Felt is thus seen as an alternative to the model of the network: feltas anarchic form is not reducible to the regularity of the net, grid, or mesh, and the more it is pulled, tweaked, torn, and agitated, the greater its structural integrity.Felt thus invents its methodology from the material that represents its object of inquiry and from this advances a reading of the avant-garde. At the same time, Thompson demonstrates that it is sometimes the failures of thought, the disappointing meetings, even the untimely deaths that open portals through which life flows into art and allows new conjunctions of life, art, and thought. Thompson explores both the well-known engagement of Fluxus artists with Eastern spirituality and the more elusive nature of Beuysas own late interest in Tibetan culture, arriving at a sense of how such noncausal interactionsinterhuman intriguecreate culture and shape contemporary art history."
Francis Bacon: Anatomy of an Enigma by
An "amusing and thought-provoking" portrait of one of contemporary art's most challenging figures (The Independent). Francis Bacon was one of the most powerful and enigmatic creative geniuses of the twentieth century. Immediately recognizable and unforgettable, his paintings continue to challenge interpretations and provoke controversy. Bacon was also an extraordinary personality. Generous but cruel, forthright yet manipulative, extravagant but in despair: He was the sum of his contradictions. This life, lived at extremes, was filled with achievement and triumph, misfortune and personal tragedy. In his revised and updated edition, Michael Peppiatt draws from fresh material that only became available in the years since the artist's death. Most important, he includes confidential material given to him by Bacon but omitted from the first edition. This riveting, definitive biography is derived from the hundreds of occasions Bacon and Peppiatt sat conversing, often late into the night, over thirty years, particularly focusing on Bacon's time working in Paris. We are also given insight into Bacon's intimate relationships, his artistic convictions and views on life, as well as his often acerbic comments on his contemporaries. "Careful research and 30 years of acquaintance inform this biography." --The New York Times "Peppiatt's real accomplishment is that he makes you feel Bacon as a living presence." --Salon Magazine "Valuable first hand information . . . including wholly unexpected source material." --The Times (London)
Frank O. Gehry by
This monograph is one of the most complete and visually attractive publications on world-renowned architect Frank Gehry, presenting 243 of his buildings and projects. Gehry's provocative works of architecture are constructed through a unique process of improvisation and display extreme creative freedom, which allows him to work without preconceptions and with an extraordinarily open mind. This volume traces Gehry's career and creative development and includes all of his most significant works, from his senior thesis at the University of Southern California (1954) to a projected skyscraper in New York City (1997). Included are such high-profile projects as the Walt Disney Concert Hall, the Loyola Law School and the California Aerospace Museum in Los Angeles; the Nationale Nederlanden office building in Prague; and the Guggenheim Museum in Bilbao.
Frank Stella: 1970-1987 by
Shows examples of Stella's large scale paintings, constructions, and reliefs created over the last seventeen years, and discusses the themes, style, and materials of his work.
From Word to Canvas: Appropriations of Myth in Women's Aesthetic Production by
From Word to Canvas: Appropriations of Myth in Women's Aesthetic Production is an innovative collection of essays on female aesthetic production and myth, examining the ways in which women artists and writers utilize myth to negotiate their perceptions of feminine identity and feminine representation in an increasingly complex and culturally hybrid world. The featured essays and artistic contributions address a variety of contemporary female productions, including literature, performance, and visual art, in a markedly global scope. Representing a wide range of cultures, languages, geographic locales, and social contexts-from Jewish-Hindu and Kenyan-German, through Irish, Italian, American, to Vietnamese folktales-this diversified selection underscores the agency of the feminine gaze across a historical and geopolitical span, a gaze through which myths from various cultures and different cultural amalgams speak to us with force and with significance. The potency of this gaze is linked to the potential of myth simultaneously to encompass and compress history, and to offer the result as a backdrop against which the move from word to canvas-or from a mythic tale to its aesthetic appropriation-is performed in female aesthetic production.
Gehry Draws by
Drawing as Frank Gehry's way of "thinking aloud": tracing this part of Gehry's creative process through 32 major projects, both built and unbuilt; with more than 900 illustrations. Everyone knows what the distinctive curves and lines of Frank Gehry's buildings look like. But where do they come from? Gehry has described drawing as his way of "thinking aloud"; Gehry Draws traces that thinking through 32 major projects (both built and unbuilt) with more than 500 drawings (many of which have never before been published) and more than 400 additional illustrations--providing a privileged view of the creative practice of a master architect. Horst Bredekamp's introduction relates Gehry's drawing methods to the concept of "disegno," as practiced by Leonardo and Durer--not only the act of drawing and modeling but also the dynamics of creative thinking--and shows how Gehry thinks through the curving movements of his hand on paper. Gehry himself describes for Bredekamp his method in several explanatory sketches, and Bredekamp applies this to a study of drawings made for specific Gehry commissions. Gehry Draws is produced in collaboration with Frank Gehry and his team at Gehry Partners. Project synopses and commentary by Gehry and two of his Partners and Project Designers, Edwin Chan and Craig Webb, guide us through the full range of Gehry production, from the small details of furniture design to such large-scale undertakings as the Disney Concert Hall and the Guggenheim Museum in Bilbao. The drawings, illustrations, and text in Gehry Draws definitively place drawing at the heart of Frank Gehry's creative process. This book is published by The MIT Press in association with Violette Editions.
Gehry Talks: Architecture + Process by
This generously illustrated presentation features 36 projects, Gehry's work from 1988 to the present.
Gendered: Art and Feminist Theory by
Feminist art and theoretical aspects of feminism are linked via a unique and reciprocal bond whose influence extends far beyond their own bounds into the social, cultural, political and economic realms, as well as into the personal lives of women and men alike. This linkage was forged in different places around the world in the 1960s and 1970s. It was especially influential in the United States, during a decade which witnessed the emergence and growth of the Women s Liberation, Civil Rights, LGBT, and hippie movements and the protest against the Vietnam War. In response to these events, large numbers of women artists joined the ranks of contemporary political-feminist activists, their art directly reflecting the concerns of feminist theory and practice. This volume adopts an interdisciplinary approach through which it compares American feminist art and artists with their European counterparts. In order to elucidate the geographical divide, this book takes as a test case the work of Mary Kelly who, while born in the USA, produced much of her work while living in Britain and under the influence of European thought. Challenging traditional disciplinary boundaries, it moves beyond an art-history survey to discuss the artistic field in relation to feminist theory and politics, revealing the continuing relevance of both areas for the contemporary reader. While concentrating upon the second wave of feminism in Europe and the USA, it also addresses aspects of the third wave and the current state of the feminist movement, particularly in respect to the Israeli art scene."
Graves Residence: Michael Graves by
Michael Graves has been part of the architectural scene since the 1980s, and he is noted as one of the leaders of the post-modern movement. This book looks at the Graves Residence, designed and lived in by the architect. The residence has its roots in a classically-based architecture and is more restrained than the visually extravagant work associated with Graves's projects of the early 1980s. Located in a street in Princeton, New Jersey, a town dominated by the University, the building is L-shaped in plan. It has a clearly expressed entrance formed by an angle between the two wings of the house, which provides an inside-out zone between the house and formally arranged garden. Inside, much of the furniture as well as the fittings have been designed by Graves himself, and these, together with his collection of neoclassical furniture, varied artefacts and art works, all contribute to a work that represents one of his most complete architectural statements, embodying many of the themes expressed in his more recent work.
Hand to Earth Andy Goldsworth Scuplture 1976-1990 by 
Hiroshima after Iraq: Three Studies in Art and War by
Many lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), completed after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deploying feminist and psychoanalytic approaches, Deutsche questions both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse, in which the personal dimensions of war are denied.
I Am a Monument: On Learning from Las Vegas by
Rereading one of the most influential architectural books of the twentieth century--as intellectual project, graphic design landmark, and prescient introduction to issues of concern today. Learning from Las Vegas, originally published by the MIT Press in 1972, was one of the most influential and controversial architectural books of its era. Forty years later, it remains a perennial bestseller and a definitive theoretical text. Its authors--architects Robert Venturi, Denise Scott Brown, and Steven Izenour--famously used the Las Vegas Strip to argue the virtues of the "ordinary and ugly" above the "heroic and original" qualities of architectural modernism. Learning from Las Vegas not only moved architecture to the center of cultural debates, it changed our ideas about what architecture was and could be. In this provocative rereading of an iconic text, Aron Vinegar argues that to read Learning from Las Vegas only as an exemplary postmodernist text--to understand it, for example, as a call for pastiche or as ironic provocation--is to underestimate its deeper critical and ethical meaning, and to miss the underlying dialectic between skepticism and the ordinary, expression and the deadpan, that runs through the text. Especially revealing is Vinegar's close analysis of the differences between the first 1972 edition, designed for the MIT Press by Muriel Cooper, and the "revised" edition of 1977, which was radically stripped down and largely redesigned by Denise Scott Brown.
The Ideas of le Corbusier on Architecture and Urban Planning by 
In Other Los Angeleses: Multicentric Performance Art by
Performance art and Los Angeles, two subjects spectacularly resistant to definitions, illuminate each other in this searching study by Meiling Cheng. A marginal artistic pursuit by choice as well as necessity, performance art has flourished in and about "multicentric" Los Angeles for nearly four decades, finding its own centers of activity, moving and changing as the margins have reconstituted themselves. The notion of multicentricity serves, somewhat paradoxically, as the unifying motif in Cheng's imaginative views of center and periphery, self and other, and "mainstream" and "marginal" cultures. She analyzes individual artists and performances in detail, bringing her own "center" gracefully and unmistakably into contact with all those others. Without suggesting that her approach is definitive, she offers a way of thinking and talking coherently about particularly elusive, ephemeral artwork. Cheng describes performance art as "an intermedia visual art form that uses theatrical elements in presentation." Performance art, which uses the living body as its central medium, occurs only "here" and only "now." Because it is intentionally volatile, highly adaptable, and often site-specific, with emphasis on audience interaction, context is inseparable from the work itself. When Cheng writes about Suzanne Lacy or Tim Miller, Johanna Went or Oguri and Renzoku, Sacred Naked Nature Girls or osseus labyrint, she is conscious of her role in extending their creative expression. As members of the "virtual audience," readers and viewers of other documentation concerning performance art are arrayed outside the center represented by a given artist and the circle represented by the immediate witnesses to a performance, but all may entertain what Cheng calls a conceptual ownership of the work. A person who reads about a performance, she says, may feel more affected by this virtual encounter than a person who has seen it live, and may reimagine it as a "prosthetic performance." Cheng's writing draws us into the many centers where a vibrant contemporary art phenomenon and a fascinating urban environment interact. Published in association with the Southern California Studies Center at the University of Southern California
In the Making: Creative Options for Contemporary Art by
A creative poetic biography based on the dreams and many thoughts of the author, Tim O'Bryan, A Pittsburgh Pennsylvania native, former South Carolinian who now lives in Ohio with his wife and kids.
Irrational Judgments: Eva Hesse, Sol LeWitt, and 1960s New York by
An intimate study of the friendship and creative dialogue between two artists, offering an in-depth understanding of their work and the upheavals of 1960s New York Irrational Judgments examines the close friendship and significant exchange of ideas between Eva Hesse (1936-1970) and Sol LeWitt (1928-2007) in New York City during the 1960s. Taking its title from LeWitt's statement "Irrational judgments lead to new experience," this book examines the breakthroughs of the artists' intertwined careers, offering a new understanding of minimal, post-minimal, and conceptual art amid the era's political and social upheavals. Kirsten Swenson offers the first in-depth discussion of the early critical developments of each artist: LeWitt's turn from commercial design to fine art, and Hesse's move from expressionist painting to reliefs and sculpture. Bringing together a wealth of documents, interviews, and images--many published here for the first time--this handsome publication presents an insightful account of the artists' influence on and support for each other's pursuit of an experimental practice. Swenson's analysis expands our understanding of the artists' ideas, the importance of their work, and, more broadly, the relationship of the 1960s New York art world to gender politics, the Vietnam War, and the city itself.
Isuma: Inuit Video Art by
Since director Zacharias Kunuk was awarded the Camera d'Or Award at Cannes in 2001, Igloolik Isuma Productions has been among the most well-known and influential indigenous film companies in the world. Isuma's premier movie, Atanarjuat (The Fast Runner) - the first-ever feature film produced by the Inuit and presented entirely in the Inuktitut language - has received numerous awards and critical acclaim.
Jackson Pollock by
Born in 1912, in a small town in Wyoming, Jackson Pollock embodied the American dream as the country found itself confronted with the realities of a modern era replacing the fading nineteenth century. Pollock left home in search of fame and fortune in New York City. Thanks to the Federal Art Project he quickly won acclaim, and after the Second World War became the biggest art celebrity in America. For De Kooning, Pollock was the "icebreaker". For Max Ernst and Masson, Pollock was a fellow member of the European Surrealist movement. And for Motherwell, Pollock was a legitimate candidate for the status of the Master of the American School. During the many upheavals in his life in Nez York in the 1950s and 60s, Pollock lost his bearings - success had simply come too fast and too easily. It was during this period that he turned to alcohol and disintegrated his marriage to Lee Krasner. His life ended like that of 50s film icon James Dean behind the wheel of his Oldsmobile, after a night of drinking.
Jackson Pollock by
Perhaps no aspect of Jackson Pollock's oeuvre--one of the most important American artists of the twentieth century--has been more misunderstood than the drawings Pollock created during Jungian psychoanalysis sessions from 1939-40. Presented to his psychotherapist, where they remained in private files for almost three decades until their publication in 1970, these drawings have been shrouded in both personal and art-historical controversy--from a lawsuit filed by Pollock's widow, Lee Krasner, to wide-ranging justifications of them as Jungian iconography or as "proof" of Pollock's supposed mental disorder. Published in conjunction with an exhibition touring the United States, this book draws together sixty-nine drawings and one gouache, beautifully reproduced in accurate color for the first time. The images reveal a range of styles, from highly refined and elaborate sketches to rapid and automatic improvisations, as well as a range of subjects, from human figures, animals, and cryptic figures to purely abstract forms. Together, they bear witness to Pollock's intense interest in the latest contemporary art as well as non-Western traditions. Art historian Claude Cernuschi's essay addresses key historical and interpretive questions surrounding these drawings: what was their intended purpose?; do they have particular psychoanalytic importance? what is the relationship between psychoanalysis and art? Ultimately, Cernuschi argues for the importance of reintegrating these works into their rightly held place in Pollock's oeurve. Remarkable for their beauty as well as spontaneity, these drawings reflect the conscious intellectual choice of an artist blazing new trails.
Jackson Pollock: Interviews, Articles, and Reviews by
This anthology surveys five decades of critical response to Jackson Pollock, bringing together essential and hard-to-find texts from newspapers, journals, and catalogues. It includes all of Pollock's statements about his art as well as interviews with his wife, painter Lee Krasner, providing firsthand testimony about his goals and methods. Reviews of Pollock's early exhibitions reveal the intense interest his work aroused even before he arrived at his famous technique of "dripping" paint. Later articles trace the growth of Pollock's myth after his death in 1956 and document the continuing debate over psychological and mythological interpretations of Pollock's work.
Jackson Pollock: New Approaches by
Presenting nine critical essays by leading scholars--among them T.J. Clark, Robert Storr, James Coddington, Rosalind Krauss, and Kirk Varnedoe--this collection offers dramatically different ways of understanding Jackson Pollock's art and influence. Revealing not just the richness of Pollock's work, but also the vitality and diversity of contemporary criticisms, these texts discuss the crisis of easel painting, Pollock's relationship with his wife, artist Helen Frankenthaler, the Americanization of Europe, and the place of chaos in Pollock's work. Based on a symposium held in 1999 during The Museum of Modern Art, New York's retrospective exhibition of Pollock's oeuvre, this volume is a companion to Jackson Pollock: Key Interviews, Articles, and Reviews, a collection of older texts by or about the artist.
Jasper Johns by
At a time when the dominant mode of painting, Abstract Expressionism, emphasised expressive drama through bold brushwork and largely abstract compositions, Johns' paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable. "It all began... with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn't have to design it. So I went on to similar things like the targets - things the mind already knows. That gave me room to work on other levels. For instance, I've always thought of painting as a surface; painting it in one color made this very clear. Then I decided that looking at a painting should not require a special kind of focus like going to church. A picture ought to be looked at the same way you look at a radiator." Unlike most artists' statements in New York during the 1950s, Johns' remarks contained none of the familiar talk of doubt and angst, and his selection of subject matter appeared deliberate, thoughtful, and far removed from emotional attachments and desires. To younger artists, his art seemed not so much cold and unfeeling as clear-eyed and honest after the excesses of Abstract Expressionism. Furthermore, in selecting recognisable subjects, Johns seemed to reject prevailing abstract modes of painting, yet his subjects themselves - flags, targets, numbers - each possessed a vital characteristic of classic abstraction, namely, a flatness rendering them all but indistinguishable from the picture plane itself. This book underlines how Johns's work made the polarity between abstraction and representation that had dominated debates about modern art for decades seem suddenly obsolete, opening up other ways of thinking about art's relation to the world. It also tries to understand why, since his first exhibition at the Leo Castelli Gallery at the age of twenty-seven, he has remained one of the major artists of the contemporary artistic scene.
Jaune Quick-To-See Smith: An American Modernist by
The first full-length critical analysis of the paintings of Jaune Quick-to-See Smith, this book focuses on Smith's role as a modernist in addition to her status as a wellknown Native American artist. With close readings of Smith's work, Carolyn Kastner shows how Smith simultaneously contributes to and critiques American art and its history.
The Johns Hopkins Guide to Digital Media by
The study of what is collectively labeled "New Media"--the cultural and artistic practices made possible by digital technology--has become one of the most vibrant areas of scholarly activity and is rapidly turning into an established academic field, with many universities now offering it as a major. The Johns Hopkins Guide to Digital Media is the first comprehensive reference work to which teachers, students, and the curious can quickly turn for reliable information on the key terms and concepts of the field. The contributors present entries on nearly 150 ideas, genres, and theoretical concepts that have allowed digital media to produce some of the most innovative intellectual, artistic, and social practices of our time. The result is an easy-to-consult reference for digital media scholars or anyone wishing to become familiar with this fast-developing field.
Jørn Utzon - Houses by
Jorn Utzon is best known as the architect of the Sydney Opera House, one of the world's most impressive works of architecture. All Utzon's works are 20th-century masterpieces, with a brilliant simplicity and honest originality. They are all presented in this stunning book that includes over 400 outstanding photographs, taken over a period of 25 years. Each building is reviewed by architect Vibe Udsen, while architecture critic Henrik Sten Moller presents a portrait of Utzon himself.
The Last Fortress of Metaphysics: Jacques Derrida and the Deconstruction of Architecture by
Examines the relationship of Derrida's writings on architecture to his methodology of deconstruction and to deconstrutivism in architecture.
Le Corbusier by
From acclaimed biographer and cultural historian, author of Balthus and Patron Saints--the first full-scale life of le Corbusier, one of the most influential, admired, and maligned architects of the twentieth century, heralded is a prophet in his lifetime, revered as a god after his death. He was a leader of the modernist movement that sought to create better living conditions and a better society through housing concepts. He predicted the city of the future with its large, white apartment buildings in parklike settings--a move away from the turn-of-the-century industrial city, which he saw as too fussy and suffocating and believed should be torn down, including most of Paris. Irascible and caustic, tender and enthusiastic, more than a mercurial innovator, Le Corbusier was considered to be the very conscience of modern architecture. In this first biography of the man, Nicholas Fox Weber writes about Le Corbusier the precise, mathematical, practical-minded artist whose idealism--vibrant, poetic, imaginative; discipline; and sensualism were reflected in his iconic designs and pioneering theories of architecture and urban planning. Weber writes about Le Corbusier's training; his coming to live and work in Paris; the ties he formed with Nehru . . . Brassa#65533; . . . Malraux (he championed Le Corbusier's work and commissioned a major new museum for art to be built on the outskirts of Paris) . . . Einstein . . . Matisse . . . the Steins . . . Picasso . . . Walter Gropius, and others. We see how Le Corbusier, who appreciated goverments only for the possibility of obtaining architectural commissions, was drawn to the new Soviet Union and extolled the merits of communism (he never joined the party); and in 1928, as the possible architect of a major new building, went to Moscow, where he was hailed by Trotsky and was received at the Kremlin. Le Corbusier praised the ideas of Mussolini and worked for two years under the Vichy government, hoping to oversee new construction and urbanism throughout France. Le Corbusier believed that Hitler and Vichy rule would bring about "a marvelous transformation of society," then renounced the doomed regime and went to work for Charles de Gaulle and his provisional government. Weber writes about Le Corbusier's fraught relationships with women (he remained celibate until the age of twenty-four and then often went to prostitutes); about his twenty-seven-year-long marriage to a woman who had no interest in architecture and forbade it being discussed at the dinner table; about his numerous love affairs during his marriage, including his shipboard romance with the twenty-three-year-old Josephine Baker, already a legend in Paris, whom he saw as a "pure and guileless soul." She saw him as "irresistibly funny." "What a shame you're an architect!" she wrote. "You'd have made such a good partner!" A brilliant revelation of this single-minded, elusive genius, of his extraordinary achivements and the age in which he lived.
Le Corbusier, the Noble Savage: Toward an Archaeology of Modernism by
This study of Le Corbusier's oeuvre looks at the early, formative years of the architect's life as a key to understanding his mature practice, and to solving such fundamental questions as where did his design vocabulary come from?, and how was his aesthetic sense formed?.
Le Corbusier and the Architeture of Reinvention by
How, in a turbulent century, was Le Corbusier able to reinvent himself at least five times? How was he able to become the Picasso (or Duchamp) of architecture? How was he able to produce work in a regional Art Nouveau mode, then become a leader of the Modern Movement and International Style, then switch to primitive materials and Brutalism before pre-empting Post-Modernism through Ronchamp and Chandigarh, and pre-empting High-Tech and Complexity Architecture through the Centre Le Corbusier and the Philips Pavilion? How?'This book brings together leading scholars to explore Le Corbusier's tactics of self-reinvention, his relationship to the artistic avant-garde and his work as a multimedia practitioner. It also contains an English-language edition of Le Corbusier's 'Poème de l'Angle Droit', complete with beautiful colour lithographs.
Lichtenstein Posters by
Roy Lichtenstein's art is most recognisable for its trademark Benday dots and two-dimensional planes, cartoon-like qualities that placed him at the forefront of the American Pop Art scene. With its heavy emphasis on America's consumer culture, Lichtenstein's style lends itself easily to the poster genre. This volume opens with his earliest poster, designed for his first exhibition at the Leo Castelli gallery in 1962, and closes with his last, which he completed in the year of his death. An additional section features reproductions from the Claus von Olden collection and includes posters and flyers that were produced all over the world using Lichtenstein's iconic motifs. The works reflect Lichtenstein's prolific imagination and ability to adapt his vision to the promotion of music and film festivals, theatrical performances, museums, restaurants, public service messages, as well as his own exhibitions. An essay by Jurgen Doring, curator of the exhibit for which this volume was created, expounds upon Lichtenstein's development as an artist who blurred the boundaries between low- and highbrow art. The book also includes an illustrated biography of the artist.
Mark Rothko: From the inside out by
"The journey to understand the painting is also the journey to understand Rothko, because the work is so thoroughly suffused with the man."--Christopher Rothko Mark Rothko (1903-1970), world-renowned icon of Abstract Expressionism, is rediscovered in this wholly original examination of his art and life written by his son. Synthesizing rigorous critique with personal anecdotes, Christopher, the younger of the artist's two children, offers a unique perspective on this modern master. Christopher Rothko draws on an intimate knowledge of the artworks to present eighteen essays that look closely at the paintings and explore the ways in which they foster a profound connection between viewer and artist through form, color, and scale. The prominent commissions for the Rothko Chapel in Houston and the Seagram Building murals in New York receive extended treatment, as do many of the lesser-known and underappreciated aspects of Rothko's oeuvre, including reassessments of his late dark canvases and his formidable body of works on paper. The author also discusses the artist's writings of the 1930s and 1940s, the significance of music to the artist, and our enduring struggles with visual abstraction in the contemporary era. Finally, Christopher Rothko writes movingly about his role as the artist's son, his commonalities with his father, and the terms of the relationship they forged during the writer's childhood. Mark Rothko: From the Inside Out is a thoughtful reexamination of the legendary artist, serving as a passionate introduction for readers new to his work and offering a fresh perspective to those who know it well.
Maya Lin: Systematic Landscapes by
"Utilizing the way in which scientists and computers see our world, drawing on images based on sonar views of the ocean floor, to aerial and satellite views of the land, I have started to create artworks that translate that technological view into sculptural forms.” (Maya Lin) One of the most celebrated artists working in the United States, Maya Lin (b. 1959) came to prominence in 1981 with her design for the Vietnam Veterans Memorial. Generously illustrated and beautifully designed, Systematic Landscapes traces her continued fascination with geologic phenomena and topography, integrating natural contours and materials into evocative landscape sculptures such as Character of a Hill Under Glass (2002) and 11 Minute Line (2004). As the book reveals, Lin’s earthworks and public sculptures have always developed alongside small-scale, exploratory sculptures and monumental temporary installations, such as Avalanche (1998), through which Lin evokes the physical processes that shape the earth. This important volume also introduces three major new installation works created for the "Systematic Landscapes" exhibition, along with a series of related drawings and reliefs demonstrating the expanding scope of Lin’s creative process. The largest of these installations, 2 x 4 Landscape, is composed from more than 45,000 sections of lumber placed on end that from a distance take on a pixel-like image of a hill, and close up create a form that evokes both mound and wave, earth and water. Systematic Landscapes is of interest to newcomers to Maya Lin's work as well as to longtime enthusiasts of her unique artistic creations and stunning design work.
Michael Graves: Buildings and Projects, 1990-1994 by
Michael Grave's career has been one of the most remarkably creative and successful of any American architect today. His extensive oeuvre includes such renowned projects as the Walt Disney World Dolphin Hotel and Walt Disney World Swan hotel in Florida, the San Juan Capistrano Library in California, and the precedent setting Portland Building in Oregon, as well as designs for his highly popular lines of furniture, home furnishings, and artifacts. Grave's signature aesthetic-elemental shapes, references to historical forms, and warm colors that often reflect Italian and classical influences-is recognized worldwide.
Mies in America by
This major study of one of the 20th century's greatest architects reevaluates the entire body of Ludwig Mies van der Rohe's work in America. Based on considerable new research and bringing to light previously unstudied material--drawings and collages, photographs, project documents, and oral histories--Mies in America presents fresh, original, and corrective interpretations of the architect's achievements. The book includes nine essays that together offer a portrait of Mies's evolution as an artist. Packed with more than 550 illustrations, the book looks beyond Mies's most famous architectural triumphs, from the IIT campus in Chicago to the Seagram Building in New York, to probe the relationship between a seminal body of work and its cultural context.
Mies Van der Rohe by
Studio Paperback monographs on the outstanding architects of the 20th century - concise and informative overviews of the complete works written and edited by noted authors. Each volume contains biographical details and a work chronology.
Mies Van der Rohe1886-1969: The Structure of Space by 
Mies Van der Rohe the Built Work by
This essential and comprehensive Mies monograph focuses in its analysis on Mies design intentions: it reconstructs the buildings in their orginal state, examines them from the present day persepctive and rediscovers the inspiring architecture of a great modern master.The book presents eighty of Mies' works in chronological order. "
Modern: The Modern Movement in Britain by
Encyclopedic in scope and structure, this comprehensive study of Modern Movement architecture in Britain covers the work of such renowned architects as Walter Gropius, Marcel Breuer, Erich Mendelsohn and Serge Chermayeff, together with specially commissioned photographs of all the major extant buildings.
Moving Innovation: a History of Computer Animation by
A behind-the-scenes history of computer graphics, featuring a cast of math nerds, avant-garde artists, cold warriors, hippies, video game players, and studio executives.
New Art in the 60s and 70s: Redefining Reality by
By the end of the 1960s a revolution had taken place in the perception and practice of art in Europe and North America. This book, the first detailed account of developments centered around the conceptual art movement, highlights the main issues underlying visually disparate works dating from the second half of the 1960s to the end of the 1970s. These works questioned the accepted categories of painting and sculpture by embracing a wealth of alternative media and procedures. Traditional two- and three-dimensional representations were supplanted by a variety of linguistic and photographic means, as well as installations that brought into play the importance of presentation and site. Through close examination of individual works and artists, Anne Rorimer demonstrates the pervading desire to redefine the characteristics of what was once accepted as truly visual in order to dispel earlier assumptions and offer other criteria for seeing. Artists whose work is discussed in depth include Robert Ryman, Gerhard Richter, Joseph Kosuth, Lawrence Weiner, Eleanor Antin, John Baldessari, Gilbert & George, Sol LeWitt, Adrian Piper, Bruce Nauman, Vito Acconci, Marcel Broodthaers, Robert Smithson, Daniel Buren, and Michael Asher. Forerunners of the period such as Jasper Johns, Robert Rauschenberg, Andy Warhol, Frank Stella, Piero Manzoni, Joseph Beuys, Allan Kaprow, and Fluxus are also included. 303 illustrations.
New Collecting: Exhibiting and Audiences after New Media Art by
New media art presents many challenges to the curator and collector, but there is very little published analytical material available to help meet those challenges. This book fills that gap. Drawing from the editor's extensive research and the authors' expertise in the field, the book provides clear navigation through a disparate arena. The authors offer examples from a wide geographical reach, including the UK, North America and Asia, and integrate the consideration of audience response into all aspects of their work. The book will be essential reading for those studying or practising in new media, curating or museums and galleries.
New Media Futures: The Rise of Women in the Digital Arts by
Trailblazing women working in digital arts media and education established the Midwest as an international center for the artistic and digital revolution in the 1980s and beyond. Foundational events at the University of Illinois and the School of the Art Institute of Chicago created an authentic, community-driven atmosphere of creative expression, innovation, and interdisciplinary collaboration that crossed gender lines and introduced artistically informed approaches to advanced research. Interweaving historical research with interviews and full-color illustrations, New Media Futures captures the spirit and contributions of twenty-two women working within emergent media as diverse as digital games, virtual reality, medicine, supercomputing visualization, and browser-based art. The editors and contributors give voice as creators integral to the development of these new media and place their works at the forefront of social change and artistic inquiry. What emerges is the dramatic story of how these Midwestern explorations in the digital arts produced a web of fascinating relationships. These fruitful collaborations helped usher in the digital age that propelled social media. Contributors: Carolina Cruz-Niera, Colleen Bushell, Nan Goggin, Mary Rasmussen, Dana Plepys, Maxine Brown, Martyl Langsdorf, Joan Truckenbrod, Barbara Sykes, Abina Manning, Annette Barbier, Margaret Dolinsky, Tiffany Holmes, Claudia Hart, Brenda Laurel, Copper Giloth, Jane Veeder, Sally Rosenthal, Lucy Petrovic, Donna J. Cox, Ellen Sandor, and Janine Fron.
The New Paradigm in Architecture: The Language of Post-modern Architecture by
The New Paradigm in Architecture tells the story of a movement that has changed the face of architecture over the last forty years. The book begins by surveying the counter culture of the 1960s, when Jane Jacobs and Robert Venturi called for a more complex urbanism and architecture. It concludes by showing how such demands began to be realized by the 1990s in a new architecture that is aided by computer design--more convivial, sensuous, and articulate than the Modern architecture it challenges. Promoted by such architects as Frank Gehry, Daniel Libeskind, and Peter Eisenman, it has also been adopted by many schools and offices around the world. Charles Jencks traces the history of computer design which is, at its heart, built on the desire for an architecture that communicates with its users, one based on the heterogeneity of cities and global culture. This book, the first to explore the broad issue of Postmodernism, has fostered its growth in other fields such as philosophy and the arts. First written at the start of an architectural movement in the mid-1970s, it has been translated into eleven languages and has gone through six editions. Now completely rewritten and with two new chapters, this edition brings the history up to date with the latest twists in the narrative and the turn to a new complexity in architecture.
New Tendencies: Art at the Threshold of the Information Revolution (1961-1978) by
An account of a major international art movement originating in the former Yugoslavia in the 1960s, which anticipated key aspects of information aesthetics. New Tendencies, a nonaligned modernist art movement, emerged in the early 1960s in the former Yugoslavia, a nonaligned country. It represented a new sensibility, rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book, Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history. Doing so, he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society, and the change from postwar modernism to dematerialized postmodern art practices. Medosch explains that New Tendencies, rather than opposing the forces of technology as most artists and intellectuals of the time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art. Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies' five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group's relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group's eventual eclipse by other "new art practices" including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies' works and exhibitions. time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art. Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies' five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group's relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group's eventual eclipse by other "new art practices" including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies' works and exhibitions.
No Innocent Bystanders: Performance Art and Audience by
At a moment when performance art and performance generally are at the center of the international art world, Frazer Ward offers us insightful readings of major performance pieces by the likes of Acconci, Burden, Abramovi , and Hsieh, and confronts the twisting and troubled relationship that performance art has had with the spectator and the public sphere. Ward contends that the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience, in terms that suggest the collapse of notions like “public” and “community.” A thoughtful, even urgent discussion of the relationship between art and the audience that will appeal to a broad range of art historians, artists, and others interested in constructions of the public sphere.
Non-Photorealistic Computer Graphics: Modeling, Rendering, and Animation by
Even as developments in photorealistic computer graphics continue to affect our work and leisure activities, practitioners and researchers are devoting more and more attention to non-photorealistic (NPR) techniques for generating images that appear to have been created by hand. These efforts benefit every field in which illustrations-thanks to their ability to clarify, emphasize, and convey very precise meanings-offer advantages over photographs. These fields include medicine, architecture, entertainment, education, geography, publishing, and visualization. Non-Photorealistic Computer Graphics is the first and only resource to examine non-photorealistic efforts in depth, providing detailed accounts of the major algorithms, as well as the background information and implementation advice readers need to make headway with these increasingly important techniques. Already, an estimated 10% of computer graphics users require some form of non-photorealism. Strothotte and Schlechtweg's important new book is designed and destined to be the standard NPR reference for this large, diverse, and growing group of professionals. *Hard-to-find information needed by a wide range and growing number of computer graphics programmers and applications users. *Traces NPR principles and techniques back to their origins in human vision and perception. *Focuses on areas that stand to benefit most from advances in NPR, including medical and architectural illustration, cartography, and data visualization. *Presents algorithms for two and three-dimensional effects, using pseudo-code where needed to clarify complex steps. *Helps readers attain pen-and-ink, pencil-sketch, and painterly effects, in addition to other styles. *Explores specific challenges for NPR-including "wrong" marks, deformation, natural media, artistic technique, lighting, and dimensionality. *Includes a series of programming projects in which readers can apply the book's concepts and algorithms.
Objects of Desire: The Modern Still Life by
An incisive exploration of the still life genre as artists have rediscovered and reshaped it in the 20th century, Objects of Desire proves that despite the century's hostility toward older aesthetic conventions, avant-garde artists of many schools have made of the still life a vital opportunity for invention. From Matisse, Picasso, and Braque to the Dadaists, Surrealists, and Pop artists and finally to contemporary creators like Cindy Sherman and Charles Ray, the still life has hardly led a stolid, stable, or staunch existence. Originally a subject reserved for painting, the genre has progressively invaded the arena of sculpture, its themes reinvented in the provocative assemblages called "readymades," its forms recast continuously into the present. Published to accompany a major 1997 exhibition at The Museum of Modern Art, New York, Objects of Desire traces a radical rethinking of the genre in terms of subject matter and formal invention.
One Place after Another by
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson. . Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.nne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
On Good and Evil and the Grey Zone by 
Our Kind of Movie: The Films of Andy Warhol by
A celebrated writer on contemporary art and queer culture argues that Andy Warhol's films enable us to see differently, and to see a different world.
Passage by
Creations on the beaches and in rivers explore the passage of time, while a white chalk path investigates the passing from day into night. "Passage" focuses exclusively on such sculpture made by artist Goldsworthy since the turn of the millennium. These evocative images are illuminated by diary entries that chart his experiences working in Scotland and abroad. 0-8109-5586-5$60.00 / Harry N. Abrams, Inc.
Performance Artists: Talking in the Eighties: Sex, Food, Money/Fame, Ritual/Death by 
Philip Johnson - John Burgee: Architecture 1979-1985 by
In more than two hundred illustrations, this book captures the famed architects' innovative work over the last six years, including the Cleveland Playhouse, and the AT&T building in New York City, as well as buildings currently in production.
Philosophy and Conceptual Art by
The fourteen prominent analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art? Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp's ready-mades and as continuing beyond the 1970s to include some of today's contemporary art, is grounded in the notion that the artist's 'idea' is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, "In conceptual art the idea of the concept is the most important aspect of the work...and the execution is a perfunctory affair". Given this so-called "dematerialization" of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on. Contributors: Margaret Boden, Diarmuid Costello, Gregory Currie, David Davies, Peter Goldie, Robert Hopkins, Matthew Kieran, Peter Lamarque, Dominic McIver Lopes, Derek Matravers, Elisabeth Schellekens, Kathleen Stock, Carolyn Wilde, and the "Art & Language" group.
The Picture in Question: Mark Tansey and the Ends of Representation by
A rich exploration of the possibilities of representation after Modernism, Mark Taylor's new study charts the logic and continuity of Mark Tansey's painting by considering the philosophical ideas behind Tansey's art. Taylor examines how Tansey uses structuralist and poststructuralist thought as well as catastrophe, chaos, and complexity theory to create paintings that please the eye while provoking the mind. Taylor's clear accounts of thinkers ranging from Plato, Kant, and Hegel to Merleau-Ponty, Derrida, and de Man will be an invaluable contribution to students and teachers of art.
Pop Art by
Mass culture, popular taste and kitsch, considered outside the limits of fine art, were the provocative new themes of Pop art, a movement that enjoyed great prominence in the late 1950s and 1960s. Rejecting the idea that art and life could be separated, artists in both Britain and the United States - amongst them Peter Blake, Richard Hamilton, Roy Lichtenstein, James Rosenquist and Andy Warhol - used mass-produced objects and photographic images to make a blatant connection with the real world and its infatuation with consumerism. From its earliest beginnings in the irreverence of Dada and Surrealism, David McCarthy follows the development of Pop art to its rise in popularity as an art form that celebrated the glamour and hedonism of the newly commercialized Western world while at the same time acknowledging its superficiality and transience.
Pop Art: A Continuing History by
This critical history of the Pop Art movement offers a clear perspective of the movement, with a fully documented chronology that unravels the sequence of events associated with the evolution of Pop in Britain, the USA and Europe.
Pop Art and the Origins of Post-Modernism by
Pop Art and the Origins of Post-Modernism examines the critical reception of Pop Art in America during the 1960s. Comparing the ideas of a group of New York-based critics, including Leo Steinberg, Susan Sontag, and Max Kozloff, among others, Sylvia Harrison demonstrates how their ideas - broadly categorized as either sociological or philosophical - bear a striking similarity to the body of thought and opinion which is now associated with deconstructive post-modernism. Perceived through these disciplinary lenses, Pop Art arises as not only a reflection of the dominance of mass communications and capitalist consumerism in post-war American society, but also a subversive commentary on worldviews and the factors necessary for their formation.
Postmodern Urbanism by
Like a good city,Postmodern Urbanism can be read from many perspectives as a rich conversation of world views, languages, and artifacts....It's a generous and thoughtful piece of scholarship which is unlikely to be superseded."-Charles Jencks Since the 1960s, many architects and urban planners have reacted against the drab universalism and inhuman scale of modern architecture and urbanism, seeking instead to recover a sense of community and place. It is apparent to these architects and planners, as well as segments of the general public, that something needs to be done to improve the physical landscape and the sense of desolation it arouses. Efforts to do so have been grouped under the rubric "postmodern urbanism." While this late- twentieth-century quest for meaning has elicited nostalgia for cities of the past, it has not been accompanied by a desire to relinquish technological innovations that raise the standard of living, or the pursuit of progress and modernity. Postmodern Urbanism examines these important and complex issues that directly affect our cities and neighborhoods in a book that has been widely heralded for its clarity and insight.
Re-Collection: Art, New Media, and Social Memory by
The first book on the philosophy and aesthetics of digital preservation examines the challenge posed by new media to our long-term social memory. How will our increasingly digital civilization persist beyond our lifetimes? Audio and videotapes demagnetize; CDs delaminate; Internet art links to websites that no longer exist; Amiga software doesn't run on iMacs. In Re-collection, Richard Rinehart and Jon Ippolito argue that the vulnerability of new media art illustrates a larger crisis for social memory. They describe a variable media approach to rescuing new media, distributed across producers and consumers who can choose appropriate strategies for each endangered work. New media art poses novel preservation and conservation dilemmas. Given the ephemerality of their mediums, software art, installation art, and interactive games may be heading to obsolescence and oblivion. Rinehart and Ippolito, both museum professionals, examine the preservation of new media art from both practical and theoretical perspectives, offering concrete examples that range from Nam June Paik to Danger Mouse. They investigate three threats to twenty-first-century creativity: technology, because much new media art depends on rapidly changing software or hardware; institutions, which may rely on preservation methods developed for older mediums; and law, which complicates access with intellectual property constraints such as copyright and licensing. Technology, institutions, and law, however, can be enlisted as allies rather than enemies of ephemeral artifacts and their preservation. The variable media approach that Rinehart and Ippolito propose asks to what extent works to be preserved might be medium-independent, translatable into new mediums when their original formats are obsolete.
Reconstructing Architecture: Critical Discourses and Social Practices by
The contributors to this volume question architectureOCOs complicity with the status quo, moving beyond critique to outline the part architects are playing in building radical social movements and challenging dominant forms of power."
Refiguring the Spiritual: Beuys, Barney, Turrell, Goldsworthy by
Mark C. Taylor provocatively claims that contemporary art has lost its way. With the art market now mirroring the art of finance, many artists create works solely for the purpose of luring investors and inspiring trade among hedge funds and private equity firms. When art is commodified, corporatized, and financialized, it loses its critical edge and is transformed into a financial instrument calculated to maximize profitable returns. Joseph Beuys, Matthew Barney, James Turrell, and Andy Goldsworthy are artists who differ in style, yet they all defy the trends that have diminished art's potential in recent decades. They understand that art is a transformative practice drawing inspiration directly and indirectly from ancient and modern, Eastern and Western forms of spirituality. For Beuys, anthroposophy, alchemy, and shamanism drive his multimedia presentations; for Barney and Goldsworthy, Celtic mythology informs their art; and for Turrell, Quakerism and Hopi myth and ritual shape his vision. Eluding traditional genres and classifications, these artists combine spiritually inspired styles and techniques with material reality, creating works that resist merging space into cyberspace in a way that overwhelms local contexts with global networks. Their art reminds us of life's irreducible materiality and humanity's inescapability of place. For them, art is more than just an object or process-it is a vehicle transforming human awareness through actions echoing religious ritual. By lingering over the extraordinary work of Beuys, Barney, Turrell, and Goldsworthy, Taylor not only creates a novel and personal encounter with their art but also opens a new understanding of overlooked spiritual dimensions in our era.
Relive: Media Art Histories by
Leading historians of the media arts define a new materialist media art history, discussing temporality, geography, ephemerality, and the future. In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of "new media" and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history--the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history. The contributors consider the idea of history and the artwork's moment in time; the intersection of geography and history in regional practice, illustrated by examples from eastern Europe, Australia, and New Zealand; the contradictory scales of evolution, life cycles, and bodily rhythms in bio art; and the history of the future--how the future has been imagined, planned for, and established as a vector throughout the history of new media arts. These essays, written from widely diverse critical perspectives, capture a dynamic field at a moment of productive ferment. Contributors Susan Ballard, Brogan Bunt, Andrés Burbano, Jon Cates, John Conomos, Martin Constable, Sean Cubitt, Francesca Franco, Darko Fritz, Zhang Ga, Monika Gorska-Olesinska, Ross Harley, Jens Hauser, Stephen Jones, Douglas Kahn, Ryszard W. Kluszczynski, Caroline Seck Langill, Leon Marvell, Rudy Rucker, Edward A. Shanken, Stelarc, Adele Tan, Paul Thomas, Darren Tofts, Joanna Walewska
Renegotiating the Body: Feminist Art in 1970s London by
What makes art 'feminist art'? Although feminist artists do have a unique aesthetic, there can be no essential feminist aesthetic, argues Kathy Battista in this exciting new art history. Domesticity, the body, its traces and sexuality have become prominent themes in contemporary feminist practice but where did these preoccupations begin and how did they come to signify a particular type of art? Kathy Battista's (re-)engagement with the founding generation of female practitioners centres on 1970s London as the cultural hub from which a new art practice arose. Emphasising the importance of artists including Bobby Baker, Anne Bean, Catherine Elwes, Rose English, Alexis Hunter, Tina Keane, Hannah O'Shea, Kate Walker and Silvia Ziranek and examining works such as Mary Kelly's Post-Partum Document, Judy Clark's 1973 exhibition Issues, Carolee Schneemann's Meat Joy and Cosey Fanni Tutti's Prostitution, shown in 1976, Kathy Battista investigates some of the most controversial and provocative art from the era. This book not only deals with the 'famous' art events but includes analysis of lesser-known exhibitions and performances and explains why so much feminist art has been both marginalised in art history and grossly under-represented in institutional archives and collections.
Renzo Piano by
Renzo Piano (Genoa, 1937) studied architecture at the Polytechnic in Milan. Since winning the competition to design the Centre Pompidou in Paris (1971) along with Richard Rogers, Piano has become a prominent figure on the international architectural scene, with more works constructed outside Italy than in his own country. Piano brings a similar approach to both the small and the large scale. He has directed projects of very varying sizes: small buildings like the travelling IBN Pavilion and the Brancusi Museum; and great megastructures like Kansai's International Airport Terminal built on a man-made island in the Bay of Tokyo, and the remodeling of Berlin's Potsdamer Platz where work is scheduled to be completed in 2002.
Richard Rogers: Complete Works by
Well known as an exponent of good architecture in his own work, Sir Richard Rogers (b.1933) is equally famous for promoting architectural quality and campaigning for the revival of the modern city. This first volume, covering the period 1961-88, features all of Rogers' early work with Norman Foster and Team 4, and his partnerships with Su Rogers and Renzo Piano, and the ethos and philosophy of his present practice, the Richard Rogers Partnership. The author's interviews with key figures build up a portrait of the teamwork involved in producing the buildings of Rogers' expansive career. Each project, from Creek Vean in Cornwall (1966), through the Rogers and Piano collaboration at the Pompidou Centre in Paris (1971-7), to Lloyd's of London (1978-86), is examined in detail and presented vividly with much new visual material from the practice's own archives. A complete list of works from the period is included, which reveals the developing yet distinctive scope of Rogers' work in this crucial phase of his career.
Richard Rogers Partnership: Partnership: Works and Projects by 
Richard Serra by
A critical primer on artist Richard Serra's work. Richard Serra is considered by many to be the most important sculptor of the postwar period. The essays in this volume cover the complete span of Serra's work to date--from his first experiments with materials and processes through his early films and site works to his current series of "torqued ellipses." There is a special emphasis on those moments when Serra extended aesthetic convention and/or challenged political authority, as in the famous struggle with the General Services Administration over the site-specific piece Tilted Arc. October Files October Files is a new series of inexpensive paperback books. Each book will address a body of work by an artist of the postwar period who has altered our understanding of art in significant ways and prompted a critical literature that is sophisticated and sustained. Each book will trace not only the development of an important oeuvre but also the construction of the critical discourse inspired by it. The series editors are Hal Foster, Benjamin H. D. Buchloh, Annette Michelson, Yve-Alain Bois, and Rosalind Krauss. . The series editors are Hal Foster, Benjamin H. D. Buchloh, Annette Michelson, Yve-Alain Bois, and Rosalind Krauss.. The series editors are Hal Foster, Benjamin H. D. Buchloh, Annette Michelson, Yve-Alain Bois, and Rosalind Krauss.. The series editors are Hal Foster, Benjamin H. D. Buchloh, Annette Michelson, Yve-Alain Bois, and Rosalind Krauss.
Robert Rauschenberg by
Critical essays on the artist Robert Rauschenberg, focusing on the important period of his development in the 1950s and 1960s. From the moment art historian Leo Steinberg championed his work in opposition to Clement Greenberg's rigid formalism, Robert Rauschenberg has played a pivotal role in the development and understanding of postmodern art. Challenging nearly all the prevailing assumptions about the visual arts of his time, he pioneered the postwar revival of collage, photography, silkscreen, technology, and performance.This book focuses on Rauschenberg's work during the critical period of the 1950s and 1960s. It opens with a newly prefaced version of Leo Steinberg's "Reflections on the State of Criticism," the first published version of his famous 1972 essay, "Other Criteria," which remains the single most important text on Rauschenberg. Rosalind Krauss's "Rauschenberg and the Materialized Image" builds on Steinberg's essay, arguing that Rauschenberg's work represents a decisive shift in contemporary art. Douglas Crimp's "On the Museum's Ruins" examines Rauschenberg's silkscreens in the context of the modern museum. Helen Molesworth's "Before Bed" uses psychoanalytic and economic structures to examine the artist's Black Paintings of the early 1950s. A second essay by Krauss, "Perpetual Inventory," revisits both her and Steinberg's articles of nearly twenty-five years earlier. Finally, Branden Joseph's "A Duplication Containing Duplications" views Rauschenberg's silkscreens in relation to the artist's interests in technology, particularly television. contemporary art. Doucontemporary art. Douglas Crimp's "On the Museum's Ruins" examines Rauschenberg's silkscreens in the context of the modern museum. Helen Molesworth's "Before Bed" uses psychoanalytic and economic structures to examine the artist's Black Paintings of the early 1950s. A second essay by Krauss, "Perpetual Inventory," revisits both her and Steinberg's articles of nearly twenty-five years earlier. Finally, Branden Joseph's "A Duplication Containing Duplications" views Rauschenberg's silkscreens in relation to the artist's interests in technology, particularly television.contemporary art. Douglas Crimp's "On the Museum's Ruins" examines Rauschenberg's silkscreens in the context of the modern museum. Helen Molesworth's "Before Bed" uses psychoanalytic and economic structures to examine the artist's Black Paintings of the early 1950s. A second essay by Krauss, "Perpetual Inventory," revisits both her and Steinberg's articles of nearly twenty-five years earlier. Finally, Branden Joseph's "A Duplication Containing Duplications" views Rauschenberg's silkscreens in relation to the artist's interests in technology, particularly television.
Robert Smithson: Learning from New Jersey and Elsewhere by
Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life -- magazines, postcards from other artists, notebooks, and perhaps most important, his library -- from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time.A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again -- alone and with fellow artists -- to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Roy Lichtenstein by
This work aims to be the definitive monograph on Roy Lichtenstein, a founder of American Pop Art. It covers every phase of his career including: still lifes; landscapes; the Brushstroke, Modern, Mirror, Entablature and Interiors series; sculptures; murals; and public commissions.
The Saga of Sydney Opera House: The Dramatic Story of the Design and Construction of the Icon of Modern Australia by
Peter Murray's compelling and highly readable biography of the building presents both sides of the story. Using previously unpublished files and papers, Murray has managed to unravel one of the most intriguing architectural controversies of recent times - what really happened when they built Sydney Opera House...
Schnabel House: Frank Gehry by
Part of a series of technically informative monographs embracing a broad spectrum of internationally renowned buildings. This work deals with the Schnabel Residence in California, and includes a comprehensive set of technical drawings and working details.
Skidmore, Owings and Merrill, International Terminal, San Francisco International Airport by
At the time San Francisco International Airport opened as Mills Field Municipal Airport of San Francisco in 1927, most of the San Francisco Peninsula was pastureland. Over the years, new terminals and hangars were built to satisfy the demand of increased air traffic. Beginning with a small administration building of residential character including horizontal wood siding and red cedar shingles, the airport advanced to the larger San Francisco Airport Administration Building. After continuous growth, in 2000 the airport was reorganised and expanded into the vast, structurally iconic new International Terminal. The new building acts as a gateway between land and air, offering a recognisable image to arriving and leaving passengers. It is organised over five levels, making it Americas first mid-rise terminal. It receives multiple modes of transportation -- linking cars, busses, the Bay Area Rapid Transit (BART) system and the internal light-rail system. According to Craig Hartman, design architect with SOM, the terminal is "founded upon the qualities of light and lightness". He says of the new roof: "We conceived of it as a floating, sheltering plane and as a symbol." The buildings position above several lanes of traffic required a 380-foot long span between the central columns -- essentially the building is a bridge. Thus the building itself is in a state of lift-off, offering the first step into the air for departure or a transition space for arrival before the traveller really gets back to the ground. The terminal is built on friction-pendulum base insulators that allow it to swing in the event of an earthquake. The roof trusses shape evokes many possible associations, the rolling Bay Area hills, the wings of airplanes, a bird in flight -- all images not unusual inspirations for airport designs, though in this case especially elegantly achieved.
Skidmore, Owings and Merrill: Selected and Current Works by
THE MASTER ARCHITECT SERIES is a series of monographs on some of the greatest architects and architectural firms of our time. Each monograph will contain 256 pages displaying several hundred color photographs, drawings, sketches and renderings. Although primarily a pictorial essay, the books will contain selected projects described in concise detail, along with a critique or overview of the firm, a resume of the partners, and a comprehensive bibliography.
SOM Evolutions: Recent Work of Skidmore, Owings & Merrill by
The 60-year-old practice of Skidmore, Owings & Merrill has made the firm one of the most well-known architectural firms in the world. With offices in the U.S., Europe, and Asia, it has created airport terminals in San Francisco, Tel Aviv, and Singapore. These are profiled in this extensively illustrated work by Abby Bussel, as well as Shanghai's Jin Mao building, the Hong Kong Convention Center, and the U.S. Agency for International Development in Cairo.
The Spiral Jetty Encyclo: Exploring Robert Smithson's Earthwork through Time and Place by
Copublished with the Tanner Trust Fund, J. Willard Marriott Library. Robert Smithson's earthwork, Spiral Jetty (1970), an icon of the Land Art movement of the 1960s and 1970s, is located on the northern shores of Utah's Great Salt Lake. Smithson built a masterpiece from local materials, one that spirals counterclockwise into the lake and appears or is submerged with fluctuations in the lake's locally red, saline water. The Spiral Jetty Encyclo draws on Smithson's writings for encyclopedic entries that bring to light the context of the earthwork and Smithson's many points of reference in creating it. Visitors and armchair travelers, too, will discover how much significance Smithson placed on regional considerations, his immersion in natural history, his passion for travel, and his ability to use diverse mediums to create a cohesive and lasting work of art. Containing some 220 images, most of them in color, with some historical black and whites, The Spiral Jetty Encyclo lets readers explore the construction, connections, and significance of Smithson's 1,500-foot-long curl into Great Salt Lake, created, in Smithson's words, of "mud, salt crystals, rocks, water." Winner of 15 Bytes Book Award for Art Book. Finalist for the Utah State Historical Society Best Book Award.
Surrealism, Science Fiction and Comics by 
The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art by 
Ten Huts by
Described as an artist of "prodigious imagination and intelligence" by the New York Times, Jill Sigman makes art at the intersection of dance, visual art, and social practice. An artist's book that explores the ability of art to engage us and re-envision our environment, Ten Huts documents a series of site-specific huts that were hand built from found and repurposed materials ranging from the mundane (e-waste and plastic bottles) to the bizarre (circus detritus, dental molds, and mugwort grown on the banks of a toxic creek) in landscapes as varied as industrial Brooklyn and the Norwegian Arctic. Each of the extraordinary huts in this full-color book is a structure, a sculpture, and an emergency preparedness kit that raises questions about sustainability, shelter, real estate, and our future on this planet. Ten Huts features an artist essay by Jill Sigman and 499 illustrations, along with essays about The Hut Project by Thomas Hylland Eriksen (anthropology), André Lepecki (performance studies), Matthew McLendon (art history), Elise Springer (philosophy), and Eva Yaa Asantewaa (dance). Also includes a foreword by Pamela Tatge.
Thanks for the View, Mr Mies: Lafayette Park, Detroit by
Lafayette Park, an affordable middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Today, it is one of Detroit's most racially integrated and economically stable neighbourhoods, although it is surrounded by evidence of a city in financial distress. Through interviews with and essays by residents; reproductions of archival material; and new photographs by Karin Jobst, Vasco Roma and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debann#65533;, Thanks for the View, Mr. Mies examines the way that Lafayette Park residents confront and interact with this unique modernist environment. Lafayette Park has not received the level of international attention that other similar projects by Mies have. This may be due in part to its location in Detroit, a city whose most positive qualities are often overlooked in the media. This book is a reaction against the way that iconic modernist architecture is often represented. Whereas other books may focus on the design intentions of the architect, authors Aubert, Cavar and Chandani seek to show the organic and idiosyncratic ways that the people who live in Lafayette Park actually use the architecture and how this experience, in turn, affects their everyday lives. While there are many books about abandoned buildings in Detroit and about the city's prosperous past, this book is about a remarkable part of the city as it exists today, in the twenty-first century.
Theorizing Digital Cultural Heritage by
Theoretical and practical perspectives from a range of disciplines on the challenges of using digital media in interpretation and representation of cultural heritage. In Theorizing Digital Cultural Heritage, experts offer a critical and theoretical appraisal of the uses of digital media by cultural heritage institutions. Previous discussions of cultural heritage and digital technology have left the subject largely unmapped in terms of critical theory; the essays in this volume offer this long-missing perspective on the challenges of using digital media in the research, preservation, management, interpretation, and representation of cultural heritage. The contributors--scholars and practitioners from a range of relevant disciplines--ground theory in practice, considering how digital technology might be used to transform institutional cultures, methods, and relationships with audiences. The contributors examine the relationship between material and digital objects in collections of art and indigenous artifacts; the implications of digital technology for knowledge creation, documentation, and the concept of authority; and the possibilities for "virtual cultural heritage"--the preservation and interpretation of cultural and natural heritage through real-time, immersive, and interactive techniques. The essays in Theorizing Digital Cultural Heritage will serve as a resource for professionals, academics, and students in all fields of cultural heritage, including museums, libraries, galleries, archives, and archaeology, as well as those in education and information technology. The range of issues considered and the diverse disciplines and viewpoints represented point to new directions for an emerging field. Contributors Nadia Arbach, Juan Antonio Barceló, Deidre Brown, Fiona Cameron, Erik Champion, Sarah Cook, Jim Cooley, Bharat Dave, Suhas Deshpande, Bernadette Flynn, Maurizio Forte, Kati Geber, Beryl Graham, Susan Hazan, Sarah Kenderdine, José Ripper Kós, Harald Kraemer, Ingrid Mason, Gavan McCarthy, Slavko Milekic, Rodrigo Paraizo, Ross Parry, Scot T. Refsland, Helena Robinson, Angelina Russo, Corey Timpson, Marc Tuters, Peter Walsh, Jerry Watkins, Andrea Witcomb
Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O'Keeffe by
This original and sharply obser-vant book gives new significance to three important figures in the history of twentieth-century art: Eva Hesse, Lee Krasner, and Georgia O'Keeffe. Anne Wagner looks at their imagery and careers, relating their work to three decisive moments in the history of American modernism: the avant-garde of the 1920s, the New York School of the 1940s and 1950s, and the modernist redefinition undertaken in the 1960s. Their artistic contributions were invaluable, Wagner demonstrates, as well as hard-won. She also shows that the fact that these artists were women--the main element linking the three--is as much the index of difference among their art and experience as it is a passkey to what they share.
Three Kinds of Motion: Kerouac, Pollock, and the Making of American Highways by
A freewheeling journey through midcentury America as art, literature, and the interstate highway system intersect. In 1943, Peggy Guggenheim commissioned a mural from Jackson Pollock to hang in the entryway of her Manhattan townhouse. It was the largest Pollock canvas she would ever own, and four years later she gave it to a small Midwestern institution with no place to put it. When the original scroll of On the Road goes on tour across the country, it lands at the same Iowa museum housing Peggy's Pollock--revitalizing Riley Hanick's adolescent fascination with the author. Alongside these two narrative threads, Hanick revisits Dwight D. Eisenhower's quest to build America's first interstate highway system. When catastrophic rains flood the Iowa highways, they also threaten the museum and its precious mural. In Three Kinds of Motion, his razor-sharp, funny, and intensely vulnerable book-length essay, Hanick moves deftly between his three subjects, and delivers a story with breathtaking ingenuity. "He gravitates toward the unexpected and the poignant. We see Eisenhower painting, Kerouac confined to a naval hospital after running naked across a drill field, and Pollock babysitting for the offspring of his mentor, Thomas Hart Benton. Hanick [creates] arresting juxtapositions in the mode of such kindred innovative essayists as John D'Agata, Ander Monson, and Lia Purpura." --Booklist "Like a great conversationalist, Hanick paints a generous canvas, and I rode the length of this powerful book much like I first experienced the American interstate: songs on the stereo, windows down, and the bittersweet sense that youth is fleeting. Three Kinds of Motion holds open a wild and beautiful journey, not to be missed." --Thalia Field
The Tilted Arc Controversy: Dangerous Precedent? by
Since its installation at and subsequent removal from New York City's Federal Plaza, noted sculptor Richard Serra's Tilted Arc has been a touchstone for debates over the role of public art. Installed in 1981, the 10-foot-high, 120-foot-long curved wall of Cor-Ten self-rusting steel instantly became a magnet for criticism. Harriet F. Senie explores the history of Tilted Arc, including its 1979 commission and the heated public hearings that eventually led to its removal in 1989. She examines the tactics of those opposed to the sculpture and the media's superficial and sensational coverage of the controversy, reframing the dialogue in terms of public art, public space, and public policy."
Time by
In his first major book in four years, internationally acclaimed artist Andy Goldsworthy presents a wealth of exciting new work informed by the passage of time.
Tony Smith: Architect, Painter, Sculptor by
Tony Smith is primarily known as a sculptor of large abstract constructions, which he made during the last 20 years of his life. Less well known is the fact that he was also an architect and a painter--a true Renaissance man. In the mid-1930s he studied drawing, painting, and anatomy at the Arts Student League in New York, later moving to Chicago, where he took courses in architecture and design at the New Bauhaus. Subsequent work with Frank Lloyd Wright led him to establish his own architectural firm in the 40s. Becoming disheartened with the role of architect, he returned to painting, and in the late 50s found his ultimate calling in sculpture. This volume provides the first complete overview of the career of this unique figure in the postwar American artistic vanguard. Published in conjunction with a 1998 exhibition at The Museum of Modern Art, New York, this book presents Smith's life and work in all mediums; thoughtful, critical essays; an illustrated chronology; a section of writings, interviews, and letters by Smith, his family, and his friends; and a selected bibliography and exhibition history.
Unmarked: The Politics of Performance by
Unmarked is a controversial analysis of the fraught relation between political and representational visibility in contemporary culture. Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations.
The Unspeakable Art of Bill Viola by
The breach of art from religion is just one of the many unhappy legacies of modernism. There was a time, however, when the aesthetic and the spiritual were of a piece. This study of the work of American video artist Bill Viola considers the possible reemergence of a theological dimension to contemporary art--a reenchantment of art, as some have called it. Using the high-tech apparatus of modern video, Viola's art is rooted precisely in this theological tradition of transcendent mystical experience and spiritual self-concentration. The technological apotheosis of modern image-making--high speed film, high-definition video, LCD and plasma screens, and sophisticated sound recording--are put to use by Viola in ways that significantly challenge prevailing intellectual and artistic traditions and return us to the power of the Sublime--that which, by definition, defeats language. Viola's art as such converges with postmodern notions of the unrepresentable and with the ancient theological tradition of apophasis, speaking away or unsaying. The fullness of meaning, then, appears only as a promise of presence through embodied absence, neither fully here and now nor entirely elsewhere and beyond. This study seeks to define, through the work of a courageous and thoughtful contemporary artist, the theological sublime as an aesthetic of revelation.
Utopia's Ghost: Architecture and Postmodernism, Again by
Architectural postmodernism had a significant impact on the broader development of postmodern thought: "UtopiaOCOs Ghost" is a critical reconsideration of their relationship. Combining discourse analysis, historical reconstruction, and close readings of buildings, projects, and texts from the 1970s and 1980s, Reinhold Martin argues that retheorizing postmodern architecture gives us new insights into cultural postmodernism and its aftermath.aMuch of todayOCOs discussion has turned to the recovery of modernity, but Martin writes in the Introduction, OC Simply to historicize postmodernism seems inadequate and, in many ways, premature.OCO "UtopiaOCOs Ghost" connects architecture to current debates on biopolitics, neoliberalism, and corporate globalization as they are haunted by the problem of utopia. Exploring a series of conceptsOCoterritory, history, language, image, materiality, subjectivity, and architecture itselfOCoMartin shows how they reorganize the cultural imaginary and shape a contemporary biopolitics that ultimately precludes utopian thought.aWritten at the intersection of culture, politics, and the city, particularly in the context of corporate globalization, "UtopiaOCOs Ghost" challenges dominant theoretical paradigms and opens new avenues for architectural scholarship and cultural analysis.
Video Art by
Video art has moved from brief showings on tiny screens in alternative art spaces to dominance in international exhibitions and artistic events, in which vast video installations sometimes occupy factory-sized buildings or video projections take over the walls of an entire city block. It embraces all the significant art ideas and forms of recent times--from Abstract, Conceptual, Minimal, Performance, and Pop to photography and film.Abundantly illustrated with frames and sequences, this updated edition offers a history of the medium from its early practitioners, such as Bruce Nauman and Vito Acconci, who used the video camera as an extension of their own bodies, through the vast array of conceptual, political, personal, and lyrical installations of the 1980s and 1990s by Gary Hill, Bill Viola, Inigo Manglano-Ovalle, Mary Lucier, Michal Rovner, and others up to the present day.A new chapter, "Video Ascending," explores the recent use of video in what might be called "the new cinematics"--not only multi-screen installations mixing sound and visuals but also immersive environments, including Virtual Reality, and alternative sculpture that combines solid forms with moving images. 383 illustrations, 296 in color.
Video Art Theory: A Comparative Approach by
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author's own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives
Virtual Art: From Illusion to Immersion by
Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book, Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype. Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner's 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.
Voices of Fire: Art, Rage, Power, and the State by 
What Is Deconstruction? by
Norris provides a comprehensive documentation of Deconstruction theory and its root in modern literature, while Benjamin produces a thorough and well justified explanation. This is a vial guide to understanding Deconstruction in contemporary art and architecture and its relationship to modern critical methods.
Where Heaven and Earth Meet: The Spiritual in the Art of Kandinsky, Rothko, Warhol, and Kiefer by
Art has always been important for religion or spirituality. Secular art displayed in museums can also be spiritual, and it is this art that is the subject of this book. Many of the works of art produced by Wassily Kandinsky, Mark Rothko, Andy Warhol, and Anselm Kiefer are spiritual in nature. These works reveal their own spirituality, which often has no connection to official religions. Wessel Stoker demonstrates that these artists communicate religious insights through images and shows how they depict the relationship between heaven and earth, between this world and a transcendent reality, thus clearly drawing the contours of the spirituality these works evince.
Where Today Meets Tomorrow: Eero Saarinen and the General Motors Technical Center by
Long before Microsoft or Apple occupied their legendary corporate campuses, there was the General Motors Technical Center in Warren, Michigan. Completed in 1956 and designated a National Historic Landmark in 2014, this icon of midcentury design was celebrated modern architect Eero Saarinen's (1910 - 1961) first major commission completed independent of his father, Eliel Saarinen, and its story offers a unique perspective on his work. Longtime GM designer Susan Skarsgard weaves a detailed insider's account of the early days of General Motors, the initiation of the technical center project under Eliel Saarinen, its design and construction under Eero Saarinen, and the enthusiastic acclaim the campus received upon its opening. Many leading lights of midcentury modernism were involved in the project as design consultants or artists, including Harry Bertoia, Alexander Girard, Florence Knoll, and Alexander Calder. This lavishly illustrated account is a unique document of a landmark project, presented in photographs and architectural drawings, interviews, documents, and ephemera, many never before seen.
Who's Afraid of Conceptual Art? by
What is conceptual art? Is it really a kind of art in its own right? Is it clever - or too clever? Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to rethink concepts fundamental to art and aesthetics, such as artistic interpretation and appreciation. Including helpful illustrations of the work of celebrated conceptual artists from Marcel Duchamp, Joseph Kosuth and Piero Manzoni to Dan Perjovschi and Martin Creed, Who's Afraid of Conceptual Art? is a superb starting point for anyone intrigued but perplexed by conceptual art - and by art in general. It will be particularly helpful to students of philosophy, art and visual studies seeking an introduction not only to conceptual art but fundamental topics in art and aesthetics.
Working Conditions: The Writings of Hans Haacke by
Texts by Hans Haacke that range from straightforward descriptions of his artworks to wide-ranging reflections on the relationship between art and politics. Hans Haacke's art articulates the interdependence of multiple elements. An artwork is not merely an object but is also its context--the economic, social, and political conditions of the art world and the world at large. Among his best-known works are MoMA-Poll (1970), which polled museumgoers on their opinions about Nelson Rockefeller and the Nixon administration's Indochina policy; Gallery-Goers' Birthplace and Residence Profile (1969), which canvassed visitors to the Howard Wise Gallery in Manhattan; and the famously canceled 1971 solo exhibition at the Guggenheim Museum, which was meant to display, among other things, works on two New York real estate empires. This volume collects writings by Haacke that explain and document his practice. The texts, some of which have never before been published, run from straightforward descriptions to wide-ranging reflections and full-throated polemics. They include correspondence with MoMA and the Guggenheim and a letter refusing to represent the United States at the 1969 São Paulo Biennial; the title piece, "Working Conditions," which discusses corporate influence on the art world; Haacke's thinking about "real-time social systems"; and texts written for museum catalogs on various artworks, including GERMANIA, in the German Pavilion of the 1993 Venice Biennial; DER BEVÖLKERUNG (To the Population) of 2000 at the Berlin Reichstag; Mixed Messages, an exhibition of objects from the Victoria and Albert Museum (2001); and Gift Horse, unveiled on the fourth plinth in Trafalgar Square in 2015.
Working Space by
This is art history and art criticism of a high order, detailed and refreshingly idiosyncratic. Both scholarly and hip, Stella has written a book that reveals the painter's mind and studio, allowing us to see the play of history and vision that goes on within. Highly recommended.
