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The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the museum’s 19th-century exteriors and interiors. Much of this visual material is previously unpublished(...)
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The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the museum’s 19th-century exteriors and interiors. Much of this visual material is previously unpublished(...)
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Designing the V: the museum as a work of art (1857-1909)
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The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the museum’s 19th-century exteriors and interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V’s first Director, Henry Cole, conceived the museum’s building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole’s expressed policy to ‘assemble a splendid collection of objects representing the application of Fine Arts to manufacture’ was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton, G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques. This book represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and provides an essential key to understanding the evolution of the museum’s early collections and identity.
Designing the V: the museum as a work of art (1857-1909)
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The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the museum’s 19th-century exteriors and interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V’s first Director, Henry Cole, conceived the museum’s building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole’s expressed policy to ‘assemble a splendid collection of objects representing the application of Fine Arts to manufacture’ was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton, G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques. This book represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and provides an essential key to understanding the evolution of the museum’s early collections and identity.
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books
books
Publication:
March 2017
March 2017
Subject:
Museums and Universal Exhibitions
Museums and Universal Exhibitions
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books
books
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical(...)
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical(...)
Title:
Parables for the virtual: movement, affect, sensation
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the postwar French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. Replacing the traditional opposition of literal and figural with distinctions between stasis and motion and between actual and virtual, Massumi tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multifaceted argument. This twentieth anniversary edition includes a new preface in which Massumi situates the book in relation to developments since its publication and outlines the evolution of its main concepts. It also includes two short texts, "Keywords for Affect" and "Missed Conceptions about Affect," in which Massumi explicates his approach to affect in ways that emphasize the book's political and philosophical stakes.
Parables for the virtual: movement, affect, sensation
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Since its publication twenty years ago, Brian Massumi's pioneering ''Parables for the virtual'' has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the postwar French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. Replacing the traditional opposition of literal and figural with distinctions between stasis and motion and between actual and virtual, Massumi tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multifaceted argument. This twentieth anniversary edition includes a new preface in which Massumi situates the book in relation to developments since its publication and outlines the evolution of its main concepts. It also includes two short texts, "Keywords for Affect" and "Missed Conceptions about Affect," in which Massumi explicates his approach to affect in ways that emphasize the book's political and philosophical stakes.
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books
books
Publication:
September 2021
September 2021
Subject:
Critical Theory
Critical Theory
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books
books
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$53.95
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With his astounding building cuts and intersects, Gordon Matta-Clark (1943-1978) opened up elegant geometries in the very structures that seem most substantial and most authoritative in urban existence, revealing the alienations of the urban fabric as convenient fictions and allowing life to flow into the most inhospitable and self-contained of buildings. One of his(...)
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With his astounding building cuts and intersects, Gordon Matta-Clark (1943-1978) opened up elegant geometries in the very structures that seem most substantial and most authoritative in urban existence, revealing the alienations of the urban fabric as convenient fictions and allowing life to flow into the most inhospitable and self-contained of buildings. One of his(...)
Publication:
November 2011
November 2011
Title:
Gordon Matta-Clark, moment to moment : space
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With his astounding building cuts and intersects, Gordon Matta-Clark (1943-1978) opened up elegant geometries in the very structures that seem most substantial and most authoritative in urban existence, revealing the alienations of the urban fabric as convenient fictions and allowing life to flow into the most inhospitable and self-contained of buildings. One of his favorite responses to a work came from a Parisian concierge: “I see the purpose for that hole - it is an experiment in bringing light and air into spaces that never had enough of either.” Throughout his all-too-brief career, Matta-Clark undertook civic aeration on many fronts, cofounding the now legendary Food Restaurant in 1971, buying up empty lots in Queens and evolving his theory of “anarchitecture” in films, photomontages and numerous writings and drawings. Anarchitecture redefined negative space in art as a political act, distinguishing itself from architecture by imagining a cure for its most pernicious effects. Gordon Matta-Clark : Moment to Moment offers a comprehensive overview of this courageous and liberating artist with a wealth of documentation and reproductions from across Matta-Clark's oeuvre, as well as critical commentary from Philip Ursprung, Angela Lammert, Hubertus von Amelunxen, Dan Graham and others.
Gordon Matta-Clark, moment to moment : space
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With his astounding building cuts and intersects, Gordon Matta-Clark (1943-1978) opened up elegant geometries in the very structures that seem most substantial and most authoritative in urban existence, revealing the alienations of the urban fabric as convenient fictions and allowing life to flow into the most inhospitable and self-contained of buildings. One of his favorite responses to a work came from a Parisian concierge: “I see the purpose for that hole - it is an experiment in bringing light and air into spaces that never had enough of either.” Throughout his all-too-brief career, Matta-Clark undertook civic aeration on many fronts, cofounding the now legendary Food Restaurant in 1971, buying up empty lots in Queens and evolving his theory of “anarchitecture” in films, photomontages and numerous writings and drawings. Anarchitecture redefined negative space in art as a political act, distinguishing itself from architecture by imagining a cure for its most pernicious effects. Gordon Matta-Clark : Moment to Moment offers a comprehensive overview of this courageous and liberating artist with a wealth of documentation and reproductions from across Matta-Clark's oeuvre, as well as critical commentary from Philip Ursprung, Angela Lammert, Hubertus von Amelunxen, Dan Graham and others.
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books
books
Publication:
November 2011
November 2011
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books
books
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$25.95
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We surround ourselves with material things that are invested with memories but can only stand for what we have lost. Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical(...)
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We surround ourselves with material things that are invested with memories but can only stand for what we have lost. Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical(...)
Title:
The tears of things : Melancholy and physical objects
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We surround ourselves with material things that are invested with memories but can only stand for what we have lost. Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical and psychoanalytical theory with artistic practice. Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; sculpture by Louise Bourgeois and Marcel Duchamp; Joseph Cornell’s boxes; Edward Gorey’s graphic art; fiction by Virginia Woolf, Georges Perec, and Louise Erdrich; the hallucinatory encyclopedias of Jorge Luis Borges and Luigi Serafini; and the corpse photographs of Joel Peter Witkin. However, these representations of objects perpetually fall short of our aspirations. Schwenger examines what is left over—debris and waste—and asks what art can make of these. What emerges is not an art that reassembles but one that questions what it means to assemble in the first place. Contained in this catalog of waste is that ultimate still life, the cadaver, where the subject-object dichotomy receives its final ironic reconciliation. Peter Schwenger is professor of English at Mount St. Vincent University in Halifax, Nova Scotia. He is the author of Fantasm and Fiction: On Textual Envisioning, Letter Bomb: Nuclear Holocaust and the Exploding Word, and Phallic Critiques: Masculinity and Twentieth-Century Literature.
The tears of things : Melancholy and physical objects
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We surround ourselves with material things that are invested with memories but can only stand for what we have lost. Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical and psychoanalytical theory with artistic practice. Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; sculpture by Louise Bourgeois and Marcel Duchamp; Joseph Cornell’s boxes; Edward Gorey’s graphic art; fiction by Virginia Woolf, Georges Perec, and Louise Erdrich; the hallucinatory encyclopedias of Jorge Luis Borges and Luigi Serafini; and the corpse photographs of Joel Peter Witkin. However, these representations of objects perpetually fall short of our aspirations. Schwenger examines what is left over—debris and waste—and asks what art can make of these. What emerges is not an art that reassembles but one that questions what it means to assemble in the first place. Contained in this catalog of waste is that ultimate still life, the cadaver, where the subject-object dichotomy receives its final ironic reconciliation. Peter Schwenger is professor of English at Mount St. Vincent University in Halifax, Nova Scotia. He is the author of Fantasm and Fiction: On Textual Envisioning, Letter Bomb: Nuclear Holocaust and the Exploding Word, and Phallic Critiques: Masculinity and Twentieth-Century Literature.
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books
books
Publication:
May 2006, Minnesota
May 2006, Minnesota
Subject:
Architectural Theory
Architectural Theory
Form:
journals and magazines
journals and magazines
Title:
OASE #84: Models Maquettes
OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of(...)
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of(...)
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OASE #84: Models Maquettes
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In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of the Très Grande Bibliothèque in Paris afforded new insights into a space that can be read both as mass and as counter-mass, while the model of the cruise terminal in Zeebrugge exemplified the power of the iconic form. OASE 84 devotes considerable attention to (architectural) models that play an important part in the work of various artists as well, like in the work of Mike Kelley and Thomas Demand. These models are hardly ever meant to be realised on a different scale elsewhere; they work with the dualistic connotations of the model directly. Although the two disciplines have markedly different motives for using models, we are confident that the cross-pollination brought about here will generate novel insights about the model’s significance and possibilities. With contributions by Jacob Bil, Adam Caruso, Thomas Demand, Job Floris, Kersten Geers, Christophe Van Gerrewey, Anne Holtrop, Christian Hubert, Junya Ishigami, Krijn de Koning, Véronique Patteeuw, Bas Princen, Hans Teerds, Milica Topalovic and Stefaan Vervoort OASE is an independent, international journal published in Dutch and English that features architecture, urban design and landscape design. Each issue is devoted to a topical theme and thus makes a significant contribution to international discourse within these fields. OASE is published three times a year
OASE #84: Models Maquettes
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$39.00
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Summary:
In recent decades models have made a contribution to architectural discourse that should not be underestimated. Christophe Van Gerrewey considers the models in OMA’s oeuvre and ascertains that OMA’s models always take on a life of their own, turning into ‘a realisation of what architecture promises, yet can never attain itself’. For example, the two plaster models of the Très Grande Bibliothèque in Paris afforded new insights into a space that can be read both as mass and as counter-mass, while the model of the cruise terminal in Zeebrugge exemplified the power of the iconic form. OASE 84 devotes considerable attention to (architectural) models that play an important part in the work of various artists as well, like in the work of Mike Kelley and Thomas Demand. These models are hardly ever meant to be realised on a different scale elsewhere; they work with the dualistic connotations of the model directly. Although the two disciplines have markedly different motives for using models, we are confident that the cross-pollination brought about here will generate novel insights about the model’s significance and possibilities. With contributions by Jacob Bil, Adam Caruso, Thomas Demand, Job Floris, Kersten Geers, Christophe Van Gerrewey, Anne Holtrop, Christian Hubert, Junya Ishigami, Krijn de Koning, Véronique Patteeuw, Bas Princen, Hans Teerds, Milica Topalovic and Stefaan Vervoort OASE is an independent, international journal published in Dutch and English that features architecture, urban design and landscape design. Each issue is devoted to a topical theme and thus makes a significant contribution to international discourse within these fields. OASE is published three times a year
Form:
journals and magazines
journals and magazines
Publication:
August 2011
August 2011
Form:
books
books
Title:
Visions of the city
Visions of the city
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"Visions of the city" is a dramatic history of utopian urbanism in the twentieth century. It explores radical demands for new spaces and ways of living, and considers their effects on planning, architecture and struggles to shape urban landscapes. The author critically examines influential utopian approaches to urbanism in western Europe associated with such figures as(...)
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"Visions of the city" is a dramatic history of utopian urbanism in the twentieth century. It explores radical demands for new spaces and ways of living, and considers their effects on planning, architecture and struggles to shape urban landscapes. The author critically examines influential utopian approaches to urbanism in western Europe associated with such figures as(...)
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Visions of the city
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"Visions of the city" is a dramatic history of utopian urbanism in the twentieth century. It explores radical demands for new spaces and ways of living, and considers their effects on planning, architecture and struggles to shape urban landscapes. The author critically examines influential utopian approaches to urbanism in western Europe associated with such figures as Ebenezer Howard and Le Corbusier, uncovering the political interests, desires and anxieties that lay behind their ideal cities. He also investigates avant-garde perspectives from the time that challenged these conceptions of cities, especially from within surrealism. At the heart of this richly illustrated book is an encounter with the explosive ideas of the situationists. Tracing the subversive practices of this avant-garde group and its associates from their explorations of Paris during the 1950s to their alternative visions based on nomadic life and play, David Pinder convincingly explains the significance of their revolutionary attempts to transform urban spaces and everyday life. He addresses in particular Constant's New Babylon, finding within his proposals a still powerful provocation to imagine cities otherwise. The book not only recovers vital moments from past hopes and dreams of modern urbanism. It also contests current claims about the 'end of utopia', arguing that reconsidering earlier projects can play a critical role in developing utopian perspectives today. Through the study of utopian visions, it aims to rekindle elements of utopianism itself.
Visions of the city
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"Visions of the city" is a dramatic history of utopian urbanism in the twentieth century. It explores radical demands for new spaces and ways of living, and considers their effects on planning, architecture and struggles to shape urban landscapes. The author critically examines influential utopian approaches to urbanism in western Europe associated with such figures as Ebenezer Howard and Le Corbusier, uncovering the political interests, desires and anxieties that lay behind their ideal cities. He also investigates avant-garde perspectives from the time that challenged these conceptions of cities, especially from within surrealism. At the heart of this richly illustrated book is an encounter with the explosive ideas of the situationists. Tracing the subversive practices of this avant-garde group and its associates from their explorations of Paris during the 1950s to their alternative visions based on nomadic life and play, David Pinder convincingly explains the significance of their revolutionary attempts to transform urban spaces and everyday life. He addresses in particular Constant's New Babylon, finding within his proposals a still powerful provocation to imagine cities otherwise. The book not only recovers vital moments from past hopes and dreams of modern urbanism. It also contests current claims about the 'end of utopia', arguing that reconsidering earlier projects can play a critical role in developing utopian perspectives today. Through the study of utopian visions, it aims to rekindle elements of utopianism itself.
Form:
books
books
Publication:
January 1900, New York, London
January 1900, New York, London
Subject:
Urban Theory
Urban Theory
Form:
books
books
Title:
The Hollywood sign
The Hollywood sign
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$27.95
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Hollywood's famous sign, constructed of massive white block letters set into a steep hillside, is an emblem of the movie capital it looms over and an international symbol of glamour and star power. To so many who see its image, the sign represents the earthly home of that otherwise ethereal world of fame, stardom, and celebrity -the goal of American and worldwide(...)
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Hollywood's famous sign, constructed of massive white block letters set into a steep hillside, is an emblem of the movie capital it looms over and an international symbol of glamour and star power. To so many who see its image, the sign represents the earthly home of that otherwise ethereal world of fame, stardom, and celebrity -the goal of American and worldwide(...)
Title:
The Hollywood sign
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Hollywood's famous sign, constructed of massive white block letters set into a steep hillside, is an emblem of the movie capital it looms over and an international symbol of glamour and star power. To so many who see its image, the sign represents the earthly home of that otherwise ethereal world of fame, stardom, and celebrity -the goal of American and worldwide aspiration to be in the limelight, to be, like the Hollywood sign itself, instantly recognizable. How an advertisement erected in 1923, touting the real estate development Hollywoodland, took on a life of its own is a story worthy of the entertainment world that is its focus. Leo Braudy traces the remarkable history of this distinctly American landmark, which has been saved over the years by a disparate group of fans and supporters, among them Alice Cooper and Hugh Hefner, who spearheaded its reconstruction in the 1970s. He also uses the sign's history to offer an intriguing look at the rise of the movie business from its earliest, silent days through the development of the studio system that helped define modern Hollywood. Mixing social history, urban studies, literature, and film, along with forays into such topics as the lure of Hollywood for utopian communities and the development of domestic architecture in Los Angeles, The Hollywood Sign is a fascinating account of how a temporary structure has become a permanent icon of American culture.
The Hollywood sign
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Hollywood's famous sign, constructed of massive white block letters set into a steep hillside, is an emblem of the movie capital it looms over and an international symbol of glamour and star power. To so many who see its image, the sign represents the earthly home of that otherwise ethereal world of fame, stardom, and celebrity -the goal of American and worldwide aspiration to be in the limelight, to be, like the Hollywood sign itself, instantly recognizable. How an advertisement erected in 1923, touting the real estate development Hollywoodland, took on a life of its own is a story worthy of the entertainment world that is its focus. Leo Braudy traces the remarkable history of this distinctly American landmark, which has been saved over the years by a disparate group of fans and supporters, among them Alice Cooper and Hugh Hefner, who spearheaded its reconstruction in the 1970s. He also uses the sign's history to offer an intriguing look at the rise of the movie business from its earliest, silent days through the development of the studio system that helped define modern Hollywood. Mixing social history, urban studies, literature, and film, along with forays into such topics as the lure of Hollywood for utopian communities and the development of domestic architecture in Los Angeles, The Hollywood Sign is a fascinating account of how a temporary structure has become a permanent icon of American culture.
Form:
books
books
Publication:
March 2011
March 2011
Subject:
Signage
Signage
Form:
books
books
Title:
Maya Lin : boundaries
Maya Lin : boundaries
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$34.50
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Summary:
Walking through this parklike 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(...)
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Summary:
Walking through this parklike 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(...)
Title:
Maya Lin : boundaries
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$34.50
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Walking through this parklike 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 un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Maya Lin : boundaries
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$34.50
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Walking through this parklike 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 un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Form:
books
books
Publication:
September 2006, New York
September 2006, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Absence : J. Meejin Yoon
Absence : J. Meejin Yoon
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$45.00
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Both a book and a sculptural object, "Absence" is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a(...)
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Summary:
Both a book and a sculptural object, "Absence" is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a(...)
Title:
Absence : J. Meejin Yoon
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$45.00
(available to order)
Summary:
Both a book and a sculptural object, "Absence" is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance : a portable personal memorial in the form of book. At almost two pounds, "Absence" has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book’s only "text" consists of one pinhole and two identical squares die-cut into each of its one hundred and twenty pages – one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures. Of all of the proposed monuments and grand designs for the twin towers to emerge in the last two years, "Absence" is remarkable for its employment of an under-used strategy : restraint. The simplicity of Yoon’s materials and her use of repetition speak, without words, about unspeakable loss. As a scale model of a vanished architectural site, it operates on a larger cultural level by commemorating the site itself. Unpaginated.
Absence : J. Meejin Yoon
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Price:
$45.00
(available to order)
Summary:
Both a book and a sculptural object, "Absence" is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance : a portable personal memorial in the form of book. At almost two pounds, "Absence" has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book’s only "text" consists of one pinhole and two identical squares die-cut into each of its one hundred and twenty pages – one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures. Of all of the proposed monuments and grand designs for the twin towers to emerge in the last two years, "Absence" is remarkable for its employment of an under-used strategy : restraint. The simplicity of Yoon’s materials and her use of repetition speak, without words, about unspeakable loss. As a scale model of a vanished architectural site, it operates on a larger cultural level by commemorating the site itself. Unpaginated.
Form:
books
books
Publication:
September 2003, New York
September 2003, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Heidegger's hut
Heidegger's hut
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$32.95
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Summary:
"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory." --from the foreword by Simon Sadler Beginning in the summer of 1922, philosopher Martin Heidegger(...)
$32.95
(available to order)
Summary:
"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory." --from the foreword by Simon Sadler Beginning in the summer of 1922, philosopher Martin Heidegger(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
October 2006, Cambridge / London
October 2006, Cambridge / London
Title:
Heidegger's hut
Actions:
Price:
$32.95
(available to order)
Summary:
"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory." --from the foreword by Simon Sadler Beginning in the summer of 1922, philosopher Martin Heidegger (1889-1976) occupied a small, three-room cabin in the Black Forest Mountains of southern Germany. He called it "die Hütte" ("the hut"). Over the years, Heidegger worked on many of his most famous writings in this cabin, from his early lectures to his last enigmatic texts. He claimed an intellectual and emotional intimacy with the building and its surroundings, and even suggested that the landscape expressed itself through him, almost without agency. In Heidegger's Hut, Adam Sharr explores this intense relationship of thought, place, and person. Heidegger's mountain hut has been an object of fascination for many, including architects interested in his writings about "dwelling" and "place." Sharr's account--the first substantive investigation of the building and Heidegger's life there--reminds us that, in approaching Heidegger's writings, it is important to consider the circumstances in which the philosopher, as he himself said, felt "transported" into the work's "own rhythm." Indeed, Heidegger's apparent abdication of agency and tendency toward romanticism seem especially significant in light of his troubling involvement with the Nazi regime in the early 1930s. Sharr draws on original research, including interviews with Heidegger's relatives, as well as on written accounts of the hut by Heidegger and his visitors. The book's evocative photographs include scenic and architectural views taken by the author and many remarkable images of a septuagenarian Heidegger in the hut taken by the photojournalist Digne Meller-Markovicz. There are many ways to interpret Heidegger's hut--as the site of heroic confrontation between philosopher and existence; as the petit bourgeois escape of a misguided romantic; as a place overshadowed by fascism; or as an entirely unremarkable little building. Heidegger's Hut does not argue for any one reading, but guides readers toward their own possible interpretations of the importance of "die Hütte."
Heidegger's hut
Actions:
Price:
$32.95
(available to order)
Summary:
"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory." --from the foreword by Simon Sadler Beginning in the summer of 1922, philosopher Martin Heidegger (1889-1976) occupied a small, three-room cabin in the Black Forest Mountains of southern Germany. He called it "die Hütte" ("the hut"). Over the years, Heidegger worked on many of his most famous writings in this cabin, from his early lectures to his last enigmatic texts. He claimed an intellectual and emotional intimacy with the building and its surroundings, and even suggested that the landscape expressed itself through him, almost without agency. In Heidegger's Hut, Adam Sharr explores this intense relationship of thought, place, and person. Heidegger's mountain hut has been an object of fascination for many, including architects interested in his writings about "dwelling" and "place." Sharr's account--the first substantive investigation of the building and Heidegger's life there--reminds us that, in approaching Heidegger's writings, it is important to consider the circumstances in which the philosopher, as he himself said, felt "transported" into the work's "own rhythm." Indeed, Heidegger's apparent abdication of agency and tendency toward romanticism seem especially significant in light of his troubling involvement with the Nazi regime in the early 1930s. Sharr draws on original research, including interviews with Heidegger's relatives, as well as on written accounts of the hut by Heidegger and his visitors. The book's evocative photographs include scenic and architectural views taken by the author and many remarkable images of a septuagenarian Heidegger in the hut taken by the photojournalist Digne Meller-Markovicz. There are many ways to interpret Heidegger's hut--as the site of heroic confrontation between philosopher and existence; as the petit bourgeois escape of a misguided romantic; as a place overshadowed by fascism; or as an entirely unremarkable little building. Heidegger's Hut does not argue for any one reading, but guides readers toward their own possible interpretations of the importance of "die Hütte."
Form:
books
books
Publication:
October 2006, Cambridge / London
October 2006, Cambridge / London
Subject:
Architectural Theory
Architectural Theory
