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The British-born artist and writer Leonora Carrington (1917–2011) is one of the vanguards in the history of women artists and the history of Surrealism. The interests of this visionary—feminism, ecology, the arcane and the mystical, the interconnectedness of everything—are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society,(...)
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The British-born artist and writer Leonora Carrington (1917–2011) is one of the vanguards in the history of women artists and the history of Surrealism. The interests of this visionary—feminism, ecology, the arcane and the mystical, the interconnectedness of everything—are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society,(...)
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Surreal spaces: The life and art of Leonora Carrington
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The British-born artist and writer Leonora Carrington (1917–2011) is one of the vanguards in the history of women artists and the history of Surrealism. The interests of this visionary—feminism, ecology, the arcane and the mystical, the interconnectedness of everything—are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society, and England to embrace new experiences and forge a unique artistic style in Europe and the Americas. In this evocative illustrated biography, writer and journalist Joanna Moorhead traces her cousin’s footsteps, exploring the artist’s life, loves, friendships, and work. Leading readers on a personal journey across Britain, Ireland, France, Italy, Spain, Portugal, the United States, and Mexico, ''Surreal spaces'' describes the places and experiences that would become etched in Carrington’s memory and be echoed, sometimes decades later, in her art and writing—whether her grandmother’s kitchen with its giant stove; a remote Cornish hideaway where she holidayed with Max Ernst, Lee Miller, and Man Ray; the Left Bank of Paris; an asylum in Santander, Spain; New York, where she lived among other European exiles; or Mexico City, her final sanctuary. 'Houses are really bodies,' Carrington wrote in her novella ''The Hearing Trumpet''. 'We connect ourselves with walls, roofs and objects just as we hang on to our livers, skeletons, flesh and blood streams.'
Surreal spaces: The life and art of Leonora Carrington
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The British-born artist and writer Leonora Carrington (1917–2011) is one of the vanguards in the history of women artists and the history of Surrealism. The interests of this visionary—feminism, ecology, the arcane and the mystical, the interconnectedness of everything—are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society, and England to embrace new experiences and forge a unique artistic style in Europe and the Americas. In this evocative illustrated biography, writer and journalist Joanna Moorhead traces her cousin’s footsteps, exploring the artist’s life, loves, friendships, and work. Leading readers on a personal journey across Britain, Ireland, France, Italy, Spain, Portugal, the United States, and Mexico, ''Surreal spaces'' describes the places and experiences that would become etched in Carrington’s memory and be echoed, sometimes decades later, in her art and writing—whether her grandmother’s kitchen with its giant stove; a remote Cornish hideaway where she holidayed with Max Ernst, Lee Miller, and Man Ray; the Left Bank of Paris; an asylum in Santander, Spain; New York, where she lived among other European exiles; or Mexico City, her final sanctuary. 'Houses are really bodies,' Carrington wrote in her novella ''The Hearing Trumpet''. 'We connect ourselves with walls, roofs and objects just as we hang on to our livers, skeletons, flesh and blood streams.'
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books
books
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August 2023
August 2023
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Contemporary Art Monographs
Contemporary Art Monographs
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books
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics'(...)
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October 2007, Syracuse
October 2007, Syracuse
Title:
The end of innocence : The 1964-1965 New York world's fair
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
The end of innocence : The 1964-1965 New York world's fair
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From April to October in 1964 and 1965, some 52 million people from around the world flocked to the New York World's Fair, an experience that lives on in the memory of many individuals and in America's collective consciousness. Lawrence R. Samuel offers a thought-provoking portrait of this seminal event and of the cultural climate that surrounded it, countering critics' assessment of the Fair as the "ugly duckling" of global expositions. Although much attention has been paid to the controversial role of Fair president Robert Moses, who tried to use the event to ensure his personal legacy, the Fair itself was for the great majority of visitors an overwhelmingly positive, often inspirational, and sometimes transcendent experience that truly delivered on its theme of "peace through understanding." Much of the Fair's popularity, Samuel suggests, stemmed from its looking backward as much as forward, offering visitors sanctuary from the cultural storm that was rapidly approaching in the mid-1960s. Opening just five months after President Kennedy's assassination, the Fair allowed millions to celebrate international brotherhood while the conflict in Vietnam came to a boil. The Fair glorified the postwar American dream of limitless optimism just as a counterculture of sex, drugs, and rock 'n' roll was coming into being. It was, in short, the last gasp of the American Dream: The End of the Innocence.
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books
books
Publication:
October 2007, Syracuse
October 2007, Syracuse
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books
books
Title:
Notes from Russia
Notes from Russia
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The world of Russian public notices is fascinating, bizarre and saturated in tragic-comedy: "An old woman. Left home and has not returned. Small, hunchbacked. Wears: a blue dress, red wool cardigan, a white handkerchief with red flowers on her head, grey slippers on her feet. Does not have memory." The authors and readers of these usually handwritten notices are members(...)
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The world of Russian public notices is fascinating, bizarre and saturated in tragic-comedy: "An old woman. Left home and has not returned. Small, hunchbacked. Wears: a blue dress, red wool cardigan, a white handkerchief with red flowers on her head, grey slippers on her feet. Does not have memory." The authors and readers of these usually handwritten notices are members(...)
Title:
Notes from Russia
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The world of Russian public notices is fascinating, bizarre and saturated in tragic-comedy: "An old woman. Left home and has not returned. Small, hunchbacked. Wears: a blue dress, red wool cardigan, a white handkerchief with red flowers on her head, grey slippers on her feet. Does not have memory." The authors and readers of these usually handwritten notices are members of Russia's underclass, made visible by these acts of public address which so often go unread. In this secret economy of exchange and communication, you can swap a voucher for an airplane or help to find a missing earring lost "during the fireworks on the Day of Cosmonauts." All over Russia, all sorts of surfaces, stationary or mobile, have been papered over with such notices. The folklorist, lexicographer and contributor to the related publications Russian Criminal Tattoo Encyclopedia Volumes I and II, Alexei Plutser-Sarno, has been collecting these public notices from all over Russia for many years. Notes From Russia features the highlights of Plutser-Sarno's collection, which, combined with his commentaries, tells an alternative story of recent Russian culture. Designed as part of Fuel's acclaimed Russian series of books, and printed on an unusual mix of white and brown craft paper, Notes From Russia is a moving and vital contribution to the documentation of vernacular graphics.
Notes from Russia
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The world of Russian public notices is fascinating, bizarre and saturated in tragic-comedy: "An old woman. Left home and has not returned. Small, hunchbacked. Wears: a blue dress, red wool cardigan, a white handkerchief with red flowers on her head, grey slippers on her feet. Does not have memory." The authors and readers of these usually handwritten notices are members of Russia's underclass, made visible by these acts of public address which so often go unread. In this secret economy of exchange and communication, you can swap a voucher for an airplane or help to find a missing earring lost "during the fireworks on the Day of Cosmonauts." All over Russia, all sorts of surfaces, stationary or mobile, have been papered over with such notices. The folklorist, lexicographer and contributor to the related publications Russian Criminal Tattoo Encyclopedia Volumes I and II, Alexei Plutser-Sarno, has been collecting these public notices from all over Russia for many years. Notes From Russia features the highlights of Plutser-Sarno's collection, which, combined with his commentaries, tells an alternative story of recent Russian culture. Designed as part of Fuel's acclaimed Russian series of books, and printed on an unusual mix of white and brown craft paper, Notes From Russia is a moving and vital contribution to the documentation of vernacular graphics.
Form:
books
books
Publication:
October 2007, London
October 2007, London
Subject:
Public Space
Public Space
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books
books
Title:
Arcade 20.3 spring 2002
Arcade 20.3 spring 2002
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A hodge-podge: fiction, photos, poetry, catalogs, historical facts, a cartoon—the narrowly objective hard by the expansively subjective. The plurality of genres pleased me. Any account of our territory bereft of, say, facts, poetry, projections, wild speculation, polemics, or sketchy memory, would seem to me to be fatally compromised. As the Office for Soft Architecture(...)
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Summary:
A hodge-podge: fiction, photos, poetry, catalogs, historical facts, a cartoon—the narrowly objective hard by the expansively subjective. The plurality of genres pleased me. Any account of our territory bereft of, say, facts, poetry, projections, wild speculation, polemics, or sketchy memory, would seem to me to be fatally compromised. As the Office for Soft Architecture(...)
Title:
Arcade 20.3 spring 2002
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A hodge-podge: fiction, photos, poetry, catalogs, historical facts, a cartoon—the narrowly objective hard by the expansively subjective. The plurality of genres pleased me. Any account of our territory bereft of, say, facts, poetry, projections, wild speculation, polemics, or sketchy memory, would seem to me to be fatally compromised. As the Office for Soft Architecture puts it in their Fourth Walk: “[We] painted the place in the polis of the sour heat and the pulse beneath our coats, the specific entry of our exhalations and words into the atmosphere…Our method was patience. We would slowly absorb each image until we were what we had deliberately chosen to become. Of course then we ourselves were the documents; we acquired a fragility. Hello my Delicate we would repeat when we met by chance in the streets under the rows of posters Hello my Delicate.” Matthew Stadler is a novelist and essayist whose writing about design has appeared in Nest magazine, Wiederhal, Frieze, The Guardian, and The Seattle Times. He is the editor of Clear Cut Press, a new publishing and distribution company based in Astoria, OR. editor@clearcutpress.com. Tae Won Yu is an artist working in Olympia, Washington. His previous projects include designs for Built To Spill, photographs for Nest magazine, and illlustrations for The Stranger.
Arcade 20.3 spring 2002
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A hodge-podge: fiction, photos, poetry, catalogs, historical facts, a cartoon—the narrowly objective hard by the expansively subjective. The plurality of genres pleased me. Any account of our territory bereft of, say, facts, poetry, projections, wild speculation, polemics, or sketchy memory, would seem to me to be fatally compromised. As the Office for Soft Architecture puts it in their Fourth Walk: “[We] painted the place in the polis of the sour heat and the pulse beneath our coats, the specific entry of our exhalations and words into the atmosphere…Our method was patience. We would slowly absorb each image until we were what we had deliberately chosen to become. Of course then we ourselves were the documents; we acquired a fragility. Hello my Delicate we would repeat when we met by chance in the streets under the rows of posters Hello my Delicate.” Matthew Stadler is a novelist and essayist whose writing about design has appeared in Nest magazine, Wiederhal, Frieze, The Guardian, and The Seattle Times. He is the editor of Clear Cut Press, a new publishing and distribution company based in Astoria, OR. editor@clearcutpress.com. Tae Won Yu is an artist working in Olympia, Washington. His previous projects include designs for Built To Spill, photographs for Nest magazine, and illlustrations for The Stranger.
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books
books
Publication:
March 2002, Seattle
March 2002, Seattle
Subject:
sale books
sale books
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books
books
Price:
$124.50
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Summary:
During his tenure as Chief Royal Architect (1539-1588) in the "Golden Age" of the Ottoman Empire, Sinan designed hundreds of structures that helped create the renowned urban image of Istanbul, particularly mosques with seemingly weightless, light-filled centralized domes that have been compared with developments in Renaissance Italy. His distinctive architectural idiom(...)
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During his tenure as Chief Royal Architect (1539-1588) in the "Golden Age" of the Ottoman Empire, Sinan designed hundreds of structures that helped create the renowned urban image of Istanbul, particularly mosques with seemingly weightless, light-filled centralized domes that have been compared with developments in Renaissance Italy. His distinctive architectural idiom(...)
Title:
The Age of Sinan : architectural culture in the Ottoman Empire
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During his tenure as Chief Royal Architect (1539-1588) in the "Golden Age" of the Ottoman Empire, Sinan designed hundreds of structures that helped create the renowned urban image of Istanbul, particularly mosques with seemingly weightless, light-filled centralized domes that have been compared with developments in Renaissance Italy. His distinctive architectural idiom left its imprint over a vast empire extending from the Danube to the Tigris, and he became the most celebrated of all Ottoman architects. In this lavishly illustrated, major new assessment of Sinan's oeuvre, Gülru Necipoglu challenges standard views of Sinan as a "Turkish Michelangelo" driven solely by an insatiable urge for artistic experimentation. Her innovative analysis shows that Sinan's rich variety of mosque designs sprang from a process of negotiation between the architect and his elite patrons, both men and women. Defined though they were by social and territorial hierarchies and associated notions of identity, memory, and decorum, Sinan's mosques simultaneously shaped these conceptions. "The Age of Sinan" draws on a wealth of primary sources to reveal the chief architect's monuments as bearers of previously unrecognized dimensions of meaning. A sophisticated study of the cultural and social history of Ottoman architecture, interpreting the works of a seminal figure in the early modern eastern Mediterranean world, it is must-reading for scholars and students of art history and other fields with an interest in the Ottoman Empire.
The Age of Sinan : architectural culture in the Ottoman Empire
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Summary:
During his tenure as Chief Royal Architect (1539-1588) in the "Golden Age" of the Ottoman Empire, Sinan designed hundreds of structures that helped create the renowned urban image of Istanbul, particularly mosques with seemingly weightless, light-filled centralized domes that have been compared with developments in Renaissance Italy. His distinctive architectural idiom left its imprint over a vast empire extending from the Danube to the Tigris, and he became the most celebrated of all Ottoman architects. In this lavishly illustrated, major new assessment of Sinan's oeuvre, Gülru Necipoglu challenges standard views of Sinan as a "Turkish Michelangelo" driven solely by an insatiable urge for artistic experimentation. Her innovative analysis shows that Sinan's rich variety of mosque designs sprang from a process of negotiation between the architect and his elite patrons, both men and women. Defined though they were by social and territorial hierarchies and associated notions of identity, memory, and decorum, Sinan's mosques simultaneously shaped these conceptions. "The Age of Sinan" draws on a wealth of primary sources to reveal the chief architect's monuments as bearers of previously unrecognized dimensions of meaning. A sophisticated study of the cultural and social history of Ottoman architecture, interpreting the works of a seminal figure in the early modern eastern Mediterranean world, it is must-reading for scholars and students of art history and other fields with an interest in the Ottoman Empire.
Form:
books
books
Publication:
May 2005, Princeton
May 2005, Princeton
Subject:
History until 1900, Asia
History until 1900, Asia
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books
books
Title:
Eating architecture
Eating architecture
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$52.00
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The contributors to this highly original collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an(...)
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The contributors to this highly original collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an(...)
Subject:
Architectural Theory
Architectural Theory
Publication:
May 2004, Cambridge, Mass.
May 2004, Cambridge, Mass.
Title:
Eating architecture
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The contributors to this highly original collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an alternative art form. The nineteen essays and "Gallery of Recipes" in "Eating Architecture" seize this moment to investigate how art and architecture engage issues of identity, ideology, conviviality, memory, and loss that cookery evokes. The essays are organized into four sections that lead the reader from the landscape to the kitchen, the table, and finally the mouth. The essays in "Place Settings" examine the relationships between food and location that arise in culinary colonialism and the global economy of tourism. "Philosophy in the Kitchen" traces the routines that create a site for aesthetic experimentation, including an examination of gingerbread houses as art, food, and architectural space. The essays in "Table Rules" consider the spatial and performative aspects of eating and the ways in which shared meals are among the most perishable and preserved cultural artifacts. Finally, "Embodied Taste" considers the sensual apprehension of food and what it means to consume a work of art. The "Gallery of Recipes" contains images by contemporary architects on the subject of eating architecture.
Eating architecture
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$52.00
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Summary:
The contributors to this highly original collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an alternative art form. The nineteen essays and "Gallery of Recipes" in "Eating Architecture" seize this moment to investigate how art and architecture engage issues of identity, ideology, conviviality, memory, and loss that cookery evokes. The essays are organized into four sections that lead the reader from the landscape to the kitchen, the table, and finally the mouth. The essays in "Place Settings" examine the relationships between food and location that arise in culinary colonialism and the global economy of tourism. "Philosophy in the Kitchen" traces the routines that create a site for aesthetic experimentation, including an examination of gingerbread houses as art, food, and architectural space. The essays in "Table Rules" consider the spatial and performative aspects of eating and the ways in which shared meals are among the most perishable and preserved cultural artifacts. Finally, "Embodied Taste" considers the sensual apprehension of food and what it means to consume a work of art. The "Gallery of Recipes" contains images by contemporary architects on the subject of eating architecture.
Form:
books
books
Publication:
May 2004, Cambridge, Mass.
May 2004, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Title:
David Freund: gas stop
David Freund: gas stop
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In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little(...)
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In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little(...)
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David Freund: gas stop
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In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little photographed. From 1978 to 1981, David Freund analyzed the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers in postures and actions peculiar to gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, beckon passing drivers. Regional landscapes hold and surround gas stations, each with its own landscape of designed plantings or scrappy volunteers. Stations were also outposts for American networks other than petroleum, seen in telephone booths, mailboxes and powerlines. These and all that surrounds them spark recognition and recollection, accruing as elements of a nonlinear American narrative. While Freund’s primary concern is for his photographs to engage and surprise, he acknowledges nostalgia and uses it to imbue his subjects with a compelling sense of belonging. Of more than 200,000 gas stations in the United States at the time of this project, today they and their roles are mostly gone, existing now in memory and in this work. Four hardcover books housed in a slipcase
David Freund: gas stop
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In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little photographed. From 1978 to 1981, David Freund analyzed the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers in postures and actions peculiar to gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, beckon passing drivers. Regional landscapes hold and surround gas stations, each with its own landscape of designed plantings or scrappy volunteers. Stations were also outposts for American networks other than petroleum, seen in telephone booths, mailboxes and powerlines. These and all that surrounds them spark recognition and recollection, accruing as elements of a nonlinear American narrative. While Freund’s primary concern is for his photographs to engage and surprise, he acknowledges nostalgia and uses it to imbue his subjects with a compelling sense of belonging. Of more than 200,000 gas stations in the United States at the time of this project, today they and their roles are mostly gone, existing now in memory and in this work. Four hardcover books housed in a slipcase
Form:
books
books
Publication:
January 2017
January 2017
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Generation X
Generation X
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the(...)
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the(...)
Title:
Generation X
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the drastic changes that will lend meaning to their lives, they've mired themselves in the detritus of American cultural memory. Refugees from history, the three develop an ascetic regime of story-telling, boozing, and working McJobs - "low-pay, low-prestige, low-benefit, no-future jobs in the service industry." They create modern fables of love and death among the cosmetic surgery parlors and cocktail bars of Palm Springs, disturbingly funny tales of nuclear waste, historical overdosing, and mall culture. A dark snapshot of the trio's highly fortressed inner world quickly emerges - landscapes peopled with dead TV shows, "Elvis moments," and semi-disposable Swedish furniture. And from these landscapes, deeper portraits emerge, those of fanatically independent individuals, pathologically ambivalent about the future and brimming with unsatisfied longings for permanence, for love, and for their own home. Andy, Dag, and Claire are underemployed, overeducated, intensely private, and unpredictable. Like the group they mirror, they have nowhere to assuage their fears, and no culture to replace their anomie.
Generation X
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the drastic changes that will lend meaning to their lives, they've mired themselves in the detritus of American cultural memory. Refugees from history, the three develop an ascetic regime of story-telling, boozing, and working McJobs - "low-pay, low-prestige, low-benefit, no-future jobs in the service industry." They create modern fables of love and death among the cosmetic surgery parlors and cocktail bars of Palm Springs, disturbingly funny tales of nuclear waste, historical overdosing, and mall culture. A dark snapshot of the trio's highly fortressed inner world quickly emerges - landscapes peopled with dead TV shows, "Elvis moments," and semi-disposable Swedish furniture. And from these landscapes, deeper portraits emerge, those of fanatically independent individuals, pathologically ambivalent about the future and brimming with unsatisfied longings for permanence, for love, and for their own home. Andy, Dag, and Claire are underemployed, overeducated, intensely private, and unpredictable. Like the group they mirror, they have nowhere to assuage their fears, and no culture to replace their anomie.
Form:
books
books
Publication:
March 1991
March 1991
Subject:
Literature and poetry
Literature and poetry
Form:
books
books
Price:
$36.95
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Summary:
By United Nations estimates, 60 percent of the world's population will be urban by 2030. With the increasing speed of urbanization, especially in the developing world, scholars are now rethinking standard concepts and histories of modern cities. "The Spaces of the Modern City" historicizes the contemporary discussion of urbanism, highlighting the local and global breadth(...)
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Summary:
By United Nations estimates, 60 percent of the world's population will be urban by 2030. With the increasing speed of urbanization, especially in the developing world, scholars are now rethinking standard concepts and histories of modern cities. "The Spaces of the Modern City" historicizes the contemporary discussion of urbanism, highlighting the local and global breadth(...)
Subject:
Urban Theory
Urban Theory
Publication:
February 2008, Princeton, Oxford
February 2008, Princeton, Oxford
Title:
The Spaces of the Modern city : imaginaries, politics, and everyday life
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By United Nations estimates, 60 percent of the world's population will be urban by 2030. With the increasing speed of urbanization, especially in the developing world, scholars are now rethinking standard concepts and histories of modern cities. "The Spaces of the Modern City" historicizes the contemporary discussion of urbanism, highlighting the local and global breadth of the city landscape. This interdisciplinary collection examines how the city develops in the interactions of space and imagination. The essays focus on issues such as street design in Vienna, the motion picture industry in Los Angeles, architecture in Marseilles and Algiers, and the kaleidoscopic paradox of post-apartheid Johannesburg. They explore the nature of spatial politics, examining the disparate worlds of eighteenth-century Baghdad, nineteenth-century Morelia, Cold War-era West Berlin, and postwar Los Angeles. They also show the meaning of everyday spaces to urban life, illuminating issues such as crime in metropolitan London, youth culture in Dakar, "memory projects" in Tokyo, and Bombay cinema. Informed by a range of theoretical writings, this collection offers a fresh and truly global perspective on the nature of the modern city. The contributors are Sheila Crane, Belinda Davis, Mamadou Diouf, Philip J. Ethington, David Frisby, Christina M. Jiménez, Dina Rizk Khoury, Ranjani Mazumdar, Frank Mort, Martin Murray, Jordan Sand, and Sarah Schrank.
The Spaces of the Modern city : imaginaries, politics, and everyday life
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Summary:
By United Nations estimates, 60 percent of the world's population will be urban by 2030. With the increasing speed of urbanization, especially in the developing world, scholars are now rethinking standard concepts and histories of modern cities. "The Spaces of the Modern City" historicizes the contemporary discussion of urbanism, highlighting the local and global breadth of the city landscape. This interdisciplinary collection examines how the city develops in the interactions of space and imagination. The essays focus on issues such as street design in Vienna, the motion picture industry in Los Angeles, architecture in Marseilles and Algiers, and the kaleidoscopic paradox of post-apartheid Johannesburg. They explore the nature of spatial politics, examining the disparate worlds of eighteenth-century Baghdad, nineteenth-century Morelia, Cold War-era West Berlin, and postwar Los Angeles. They also show the meaning of everyday spaces to urban life, illuminating issues such as crime in metropolitan London, youth culture in Dakar, "memory projects" in Tokyo, and Bombay cinema. Informed by a range of theoretical writings, this collection offers a fresh and truly global perspective on the nature of the modern city. The contributors are Sheila Crane, Belinda Davis, Mamadou Diouf, Philip J. Ethington, David Frisby, Christina M. Jiménez, Dina Rizk Khoury, Ranjani Mazumdar, Frank Mort, Martin Murray, Jordan Sand, and Sarah Schrank.
Form:
books
books
Publication:
February 2008, Princeton, Oxford
February 2008, Princeton, Oxford
Subject:
Urban Theory
Urban Theory
Form:
books
books
Title:
Eating architecture
Eating architecture
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The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an(...)
$39.95
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Summary:
The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an(...)
Title:
Eating architecture
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Price:
$39.95
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Summary:
The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an alternative art form. The nineteen essays and "Gallery of Recipes" in "Eating architecture" seize this moment to investigate how art and architecture engage issues of identity, ideology, conviviality, memory, and loss that cookery evokes. The essays are organized into four sections that lead the reader from the landscape to the kitchen, the table, and finally the mouth. The essays in "Place settings" examine the relationships between food and location that arise in culinary colonialism and the global economy of tourism. "Philosophy in the kitchen" traces the routines that create a site for aesthetic experimentation, including an examination of gingerbread houses as art, food, and architectural space. The essays in "Table rules" consider the spatial and performative aspects of eating and the ways in which shared meals are among the most perishable and preserved cultural artifacts. Finally, "Embodied taste" considers the sensual apprehension of food and what it means to consume a work of art. The "Gallery of recipes" contains images by contemporary architects on the subject of eating architecture.
Eating architecture
Actions:
Price:
$39.95
(available to order)
Summary:
The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an alternative art form. The nineteen essays and "Gallery of Recipes" in "Eating architecture" seize this moment to investigate how art and architecture engage issues of identity, ideology, conviviality, memory, and loss that cookery evokes. The essays are organized into four sections that lead the reader from the landscape to the kitchen, the table, and finally the mouth. The essays in "Place settings" examine the relationships between food and location that arise in culinary colonialism and the global economy of tourism. "Philosophy in the kitchen" traces the routines that create a site for aesthetic experimentation, including an examination of gingerbread houses as art, food, and architectural space. The essays in "Table rules" consider the spatial and performative aspects of eating and the ways in which shared meals are among the most perishable and preserved cultural artifacts. Finally, "Embodied taste" considers the sensual apprehension of food and what it means to consume a work of art. The "Gallery of recipes" contains images by contemporary architects on the subject of eating architecture.
Form:
books
books
Publication:
April 2006
April 2006
