Le pavillon Pierre Lassonde
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Cet album présente le nouveau pavillon Pierre Lassonde du Musée national des beaux-arts du Québec. De conception ingénieuse, le bâtiment réalisé par la réputée firme OMA (Office for Metropolitan Architecture) et Provencher_Roy Architectes propose une expérience architecturale intégrant l'environnement naturel et bâti pour créer une véritable ouvre en soi.
July 2016
Le pavillon Pierre Lassonde
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Cet album présente le nouveau pavillon Pierre Lassonde du Musée national des beaux-arts du Québec. De conception ingénieuse, le bâtiment réalisé par la réputée firme OMA (Office for Metropolitan Architecture) et Provencher_Roy Architectes propose une expérience architecturale intégrant l'environnement naturel et bâti pour créer une véritable ouvre en soi.
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Now into its 50th edition, after its historical beginnings as Kunstmarkt Köln ’67, Art Cologne is still one of the most important art fairs in the world. And it still has its roots in Kunstmarkt Köln ’67, as a fair for classic modernism, postwar and contemporary art. Originated by the Cologne gallery owners Hein Stünke and Rudolf Zwirner, Kunstmarkt Köln ’67 opened on(...)
Museums and Universal Exhibitions
August 2016
Art Cologne 1967-2016: the first art fair
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Now into its 50th edition, after its historical beginnings as Kunstmarkt Köln ’67, Art Cologne is still one of the most important art fairs in the world. And it still has its roots in Kunstmarkt Köln ’67, as a fair for classic modernism, postwar and contemporary art. Originated by the Cologne gallery owners Hein Stünke and Rudolf Zwirner, Kunstmarkt Köln ’67 opened on September 12, 1967, in Gürzenich, the City of Cologne’s gothic banqueting hall, and was to change the international art market forever. How revolutionary this first fair was can only be understood today by means of the immediate reactions at the time, which were recorded in a flood of media reports. With a wealth of documents and illustrations, this weighty volume traces the history of the fair in chronological order.
Museums and Universal Exhibitions
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Tate Modern opened its doors in 2000, since when it has become the most popular modern and contemporary art attraction in the world, now welcoming more than 5 million visitors a year. Working with the shell of the former Bankside Power Station, internationally acclaimed architects Herzog & de Meuron created a gallery of singular power and beauty, whose spaces articulate a(...)
Museums and Universal Exhibitions
November 2016
Tate Modern: building a museum for the 21st century. Herzog & de Meuron
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Tate Modern opened its doors in 2000, since when it has become the most popular modern and contemporary art attraction in the world, now welcoming more than 5 million visitors a year. Working with the shell of the former Bankside Power Station, internationally acclaimed architects Herzog & de Meuron created a gallery of singular power and beauty, whose spaces articulate a rare affinity with contemporary art. With the second major phase of the building now complete, Tate Modern presents a striking combination of the raw and the refined, of found industrial spaces and dazzling contemporary architecture. This is the definitive book of the building, and tells vividly the story of Tate Modern and the building of a twenty-first-century museum.
Museums and Universal Exhibitions
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Global biennials have proliferated in the contemporary art world, but artists’ engagement with large-scale international exhibitions has a much longer history that has influenced the present in important ways. Going back to the earliest world’s fairs in the nineteenth century, this book argues that 'globalism' was incubated in a century of international art contests and(...)
The global work of art: world's fairs, biennials, and the aesthetics of experience
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Global biennials have proliferated in the contemporary art world, but artists’ engagement with large-scale international exhibitions has a much longer history that has influenced the present in important ways. Going back to the earliest world’s fairs in the nineteenth century, this book argues that 'globalism' was incubated in a century of international art contests and today constitutes an important tactic for artists.
Museums and Universal Exhibitions
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How do you exhibit a building, a locality, a city? "Exhibit A" reveals how architecture has pushed the boundaries of exhibition as a medium and how, in turn, exhibitions have shaped the discipline of architecture. Focusing on 80 landmark architecture exhibitions mounted in countries around the world between 1948 and 2000, and featuring 300 images, this groundbreaking(...)
Exhibit A: Exhibitions that transformed architecture 1948-2000
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How do you exhibit a building, a locality, a city? "Exhibit A" reveals how architecture has pushed the boundaries of exhibition as a medium and how, in turn, exhibitions have shaped the discipline of architecture. Focusing on 80 landmark architecture exhibitions mounted in countries around the world between 1948 and 2000, and featuring 300 images, this groundbreaking overview is both a vital reference and a visually compelling study of the way we look at built work.
Museums and Universal Exhibitions
Center Pompidou
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L'histoire du projet est reconstruite chronologiquement, de la première inspection du site à l'ouverture officielle du bâtiment, à travers des croquis, dessins, modèles, notes et bilans de construction. This book is a real journey through the conception of the Centre Pompidou, with the presentation of the unpublished archives from the Renzo PIano Building Workshop.
Museums and Universal Exhibitions
December 2017
Center Pompidou
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$109.00
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L'histoire du projet est reconstruite chronologiquement, de la première inspection du site à l'ouverture officielle du bâtiment, à travers des croquis, dessins, modèles, notes et bilans de construction. This book is a real journey through the conception of the Centre Pompidou, with the presentation of the unpublished archives from the Renzo PIano Building Workshop.
Museums and Universal Exhibitions
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This book is a journey along the history of architectural structures over the last 150 years, taking the World Expos as an original unifying thread. Nevertheless, it does not solely focus on the exhibition buildings; on the contrary, these are continuously being related to buildings beyond the scope of the Expos, thus ultimately providing a general vision of the history(...)
World expos: a history of structrures
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This book is a journey along the history of architectural structures over the last 150 years, taking the World Expos as an original unifying thread. Nevertheless, it does not solely focus on the exhibition buildings; on the contrary, these are continuously being related to buildings beyond the scope of the Expos, thus ultimately providing a general vision of the history of modern structures. This essay is destined to become an essential work of reference within the history of architectural structures.
Museums and Universal Exhibitions
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Arthur Drexler (1921-1987) served as the curator and director of the Architecture and Design Department at the Museum of Modern Art (MOMA) from 1951 until 1986— the longest curatorship in the museum's history. Over four decades he conceived and oversaw trailblazing exhibitions that not only reflected but also anticipated major stylistic developments. Although several(...)
Architecture and design at the Museum of Modern Art: Arthur Drexler years 1951-1986
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Arthur Drexler (1921-1987) served as the curator and director of the Architecture and Design Department at the Museum of Modern Art (MOMA) from 1951 until 1986— the longest curatorship in the museum's history. Over four decades he conceived and oversaw trailblazing exhibitions that not only reflected but also anticipated major stylistic developments. Although several books cover the roles of MoMA's founding director, Alfred Barr, and the department's first curator, Philip Johnson, this is the only in-depth study of Drexler, who gave the department its overall shape and direction. Drawing on rigorous archival research as well as author Thomas S. Hines's firsthand experience working with Drexler, ''Architecture and Design at the Museum of Modern Art'' analyzes how MoMA became a touchstone for the practice and study of midcentury architecture.
Museums and Universal Exhibitions
Musée immédiat : photographier les pays de l'Est de l'Europe en période de transition culturelle
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Ce livre aborde le phénomène de mise en musée immédiate de situations culturelles critiques/en transition (bouleversement constant des frontières, manipulation du passé culturel et historique, vagues artistiques autour de guerres et de conflits destructeurs) dans les pays de l’Est de l’Europe tels l’Ukraine, la Biélorussie et la Lettonie.
Musée immédiat : photographier les pays de l'Est de l'Europe en période de transition culturelle
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Ce livre aborde le phénomène de mise en musée immédiate de situations culturelles critiques/en transition (bouleversement constant des frontières, manipulation du passé culturel et historique, vagues artistiques autour de guerres et de conflits destructeurs) dans les pays de l’Est de l’Europe tels l’Ukraine, la Biélorussie et la Lettonie.
Museums and Universal Exhibitions
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If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the(...)
Museums and Universal Exhibitions
June 2006, Chicago, London
Permissions, a survival guide : blunt talk about art as intellectual property
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If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, "Permissions, a survival guide" explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain.
Museums and Universal Exhibitions