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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative(...)
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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative(...)
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Charles Sheeler : across media
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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative painting, and applied art at the School of Industrial Art in Philadelphia, Sheeler also attended the Pennsylvania Academy of the Fine Arts, where he learned an impressionistic, painterly style. He later embraced European modernism and taught himself photography. Sheeler fully absorbed the lessons of each discipline and forged his own singular approach. This illustrated book, created to accompany a traveling exhibition of Sheeler's work, features detailed analyses of the artist's mediums and working methods. Focusing on the complex, often paradoxical, relationships among photography, film, drawing, printmaking, and painting that were central to Sheeler's art, this book traces critical points in Sheeler's trajectory, beginning with a small selection of Sheeler's seminal photographs, circa 1917, of the interior of an eighteenth-century Quaker fieldstone house in Doylestown, Pennsylvania. Sections are also devoted to the 1920 film Manhatta, made in collaboration with Paul Strand; a series of commercial photographs of the Ford Motor Company's River Rogue factory (1927); the enigmatic painting The Artist Looks at Nature (1943) and its related works; and finally a group of mill subjects from the 1940s and 1950s that experiments with photomontage.
Charles Sheeler : across media
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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative painting, and applied art at the School of Industrial Art in Philadelphia, Sheeler also attended the Pennsylvania Academy of the Fine Arts, where he learned an impressionistic, painterly style. He later embraced European modernism and taught himself photography. Sheeler fully absorbed the lessons of each discipline and forged his own singular approach. This illustrated book, created to accompany a traveling exhibition of Sheeler's work, features detailed analyses of the artist's mediums and working methods. Focusing on the complex, often paradoxical, relationships among photography, film, drawing, printmaking, and painting that were central to Sheeler's art, this book traces critical points in Sheeler's trajectory, beginning with a small selection of Sheeler's seminal photographs, circa 1917, of the interior of an eighteenth-century Quaker fieldstone house in Doylestown, Pennsylvania. Sections are also devoted to the 1920 film Manhatta, made in collaboration with Paul Strand; a series of commercial photographs of the Ford Motor Company's River Rogue factory (1927); the enigmatic painting The Artist Looks at Nature (1943) and its related works; and finally a group of mill subjects from the 1940s and 1950s that experiments with photomontage.
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July 2006, Berkeley, Los Angeles, London
July 2006, Berkeley, Los Angeles, London
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Over the past 20 years, Philippe Barthélémy (France) and Sylvia Griño (born in Uruguay) have developed projects that span France, Great Britain, South America and Asia. These encompass many public and private programmes and commercial buildings for the luxury accessories giant Louis Vuitton, incuding a store in Kobe, Japan. In addition to other awards, Barthélémy-Griño(...)
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Over the past 20 years, Philippe Barthélémy (France) and Sylvia Griño (born in Uruguay) have developed projects that span France, Great Britain, South America and Asia. These encompass many public and private programmes and commercial buildings for the luxury accessories giant Louis Vuitton, incuding a store in Kobe, Japan. In addition to other awards, Barthélémy-Griño(...)
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January 1900, Basel
January 1900, Basel
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Barthélémy-Grino architectes : Frameworks / trait pour trait
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Over the past 20 years, Philippe Barthélémy (France) and Sylvia Griño (born in Uruguay) have developed projects that span France, Great Britain, South America and Asia. These encompass many public and private programmes and commercial buildings for the luxury accessories giant Louis Vuitton, incuding a store in Kobe, Japan. In addition to other awards, Barthélémy-Griño architectes won in 2003 second place for Le Moniteur's renowned Equerre d'Argent prize for their sports center in Nanterre, a building distinguished by its innovative wood construction. This book documents in detail the most significant projects from Barthélémy-Griño architectes, organised into four chapters: frames, components, insides and skins.
Barthélémy-Grino architectes : Frameworks / trait pour trait
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Over the past 20 years, Philippe Barthélémy (France) and Sylvia Griño (born in Uruguay) have developed projects that span France, Great Britain, South America and Asia. These encompass many public and private programmes and commercial buildings for the luxury accessories giant Louis Vuitton, incuding a store in Kobe, Japan. In addition to other awards, Barthélémy-Griño architectes won in 2003 second place for Le Moniteur's renowned Equerre d'Argent prize for their sports center in Nanterre, a building distinguished by its innovative wood construction. This book documents in detail the most significant projects from Barthélémy-Griño architectes, organised into four chapters: frames, components, insides and skins.
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January 1900, Basel
January 1900, Basel
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Eugène Atget : unknown Paris
Eugène Atget : unknown Paris
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For 30 years, Eugène Atget photographed the historic core of Paris, its buildings and monuments, its ancient streets and civic spaces, its public parks and gardens. With the exception of his earliest photographs, he chose not to represent a particular site by a single, definitive photograph but produced sequences of interrelated images that create a cumulative(...)
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For 30 years, Eugène Atget photographed the historic core of Paris, its buildings and monuments, its ancient streets and civic spaces, its public parks and gardens. With the exception of his earliest photographs, he chose not to represent a particular site by a single, definitive photograph but produced sequences of interrelated images that create a cumulative(...)
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Eugène Atget : unknown Paris
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For 30 years, Eugène Atget photographed the historic core of Paris, its buildings and monuments, its ancient streets and civic spaces, its public parks and gardens. With the exception of his earliest photographs, he chose not to represent a particular site by a single, definitive photograph but produced sequences of interrelated images that create a cumulative portrait. A collection of case studies of archetypal urban settings, this book examines Atget’s approach to photography. It features 240 of his photographs—nearly all of which have never been published—assembled to display the integral relationship between the photographer’s working method and his subject matter, revealing the character of le Vieux Paris itself.
Eugène Atget : unknown Paris
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For 30 years, Eugène Atget photographed the historic core of Paris, its buildings and monuments, its ancient streets and civic spaces, its public parks and gardens. With the exception of his earliest photographs, he chose not to represent a particular site by a single, definitive photograph but produced sequences of interrelated images that create a cumulative portrait. A collection of case studies of archetypal urban settings, this book examines Atget’s approach to photography. It features 240 of his photographs—nearly all of which have never been published—assembled to display the integral relationship between the photographer’s working method and his subject matter, revealing the character of le Vieux Paris itself.
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October 2003, New York
October 2003, New York
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Barragan's 1,250-acre Gardens of El Pedregal subdivision, begun in 1945 on the lava fields south of Mexico City, were dotted with houses and plazas, fountains and ponds, cacti and pepper trees. He considered El Pedregal his most important project, and critics have described the houses and gardens there as a turning point in Mexican modern architecture. This book(...)
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Luis Barragan's Gardens of El Pedregal
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Barragan's 1,250-acre Gardens of El Pedregal subdivision, begun in 1945 on the lava fields south of Mexico City, were dotted with houses and plazas, fountains and ponds, cacti and pepper trees. He considered El Pedregal his most important project, and critics have described the houses and gardens there as a turning point in Mexican modern architecture. This book examines El Pedregal's programme and form, its representation in architect-commissioned photographs and advertising, and its place within contemporary discourses on cultural identity, design and place, and suburbanisation. It offers an in-depth analysis of this project through original documents, drawings, photographs, and critical examinations of the design and marketing processes.
Luis Barragan's Gardens of El Pedregal
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Barragan's 1,250-acre Gardens of El Pedregal subdivision, begun in 1945 on the lava fields south of Mexico City, were dotted with houses and plazas, fountains and ponds, cacti and pepper trees. He considered El Pedregal his most important project, and critics have described the houses and gardens there as a turning point in Mexican modern architecture. This book examines El Pedregal's programme and form, its representation in architect-commissioned photographs and advertising, and its place within contemporary discourses on cultural identity, design and place, and suburbanisation. It offers an in-depth analysis of this project through original documents, drawings, photographs, and critical examinations of the design and marketing processes.
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August 2001, New York
August 2001, New York
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$80.50
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Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private(...)
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Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private(...)
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Sir William Chambers : architect to George III
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Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private commissions throughout the British Isles. Because of his eclectic neo-Palladian style, seminal Treatise on Civil Architecture (1759), and longterm influence through his numerous pupils, Chambers was regarded as one of the two greatest architects of late eighteenth-century Britain, sharing the honor with the more prolific Robert Adam. In this wide-ranging book, leading scholars of the period present current research on Chambers' Scandinavian and French connections; his Italian studies and projects; his relationship with British royalty; his commissioned buildings, interiors, and gardens; his furniture and metalwork designs; and his Treatise. Chambers designed and commanded works at Buckingham House, Kew, Richmond, and Windsor Castle, and was commissioned in 1774 to design the public offices at Somerset House in London. Charged with creating "an object of national splendour as well as convenience," Chambers met the challenge with a building equal to the best of those created by the French architects with whom he had trained. Selecting the highest quality materials, ornamentation, and painted decoration for Somerset House, Chambers' building showcased the best in British craftsmanship. This book was the catalogue for a William Chambers exhibition mounted in fall 1996 by the Courtauld Institute Galleries at Somerset House, their new home.
Sir William Chambers : architect to George III
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Brought up in Sweden by Scottish parents, trained in France, a regular visitor to China and India, Sir William Chambers (1726-1796) was by far the most internationally minded British architect of his time. Settling in London in 1755, Chambers became a favorite of King George III and went on to hold the highest official architectural offices and to build public and private commissions throughout the British Isles. Because of his eclectic neo-Palladian style, seminal Treatise on Civil Architecture (1759), and longterm influence through his numerous pupils, Chambers was regarded as one of the two greatest architects of late eighteenth-century Britain, sharing the honor with the more prolific Robert Adam. In this wide-ranging book, leading scholars of the period present current research on Chambers' Scandinavian and French connections; his Italian studies and projects; his relationship with British royalty; his commissioned buildings, interiors, and gardens; his furniture and metalwork designs; and his Treatise. Chambers designed and commanded works at Buckingham House, Kew, Richmond, and Windsor Castle, and was commissioned in 1774 to design the public offices at Somerset House in London. Charged with creating "an object of national splendour as well as convenience," Chambers met the challenge with a building equal to the best of those created by the French architects with whom he had trained. Selecting the highest quality materials, ornamentation, and painted decoration for Somerset House, Chambers' building showcased the best in British craftsmanship. This book was the catalogue for a William Chambers exhibition mounted in fall 1996 by the Courtauld Institute Galleries at Somerset House, their new home.
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Publication:
October 1996, New Haven, London
October 1996, New Haven, London
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"Form follows idea" examines the work and ideas of designers Ralph Ball and Maxine Naylor. Their reflections and propositions here provide a refreshing and provocative approach to design, touching on issues such as craftsmanship, modernism, and the role of nature and commercialism in design. Ball and Naylor's work explores ideas of space beyond the physical object. Their(...)
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"Form follows idea" examines the work and ideas of designers Ralph Ball and Maxine Naylor. Their reflections and propositions here provide a refreshing and provocative approach to design, touching on issues such as craftsmanship, modernism, and the role of nature and commercialism in design. Ball and Naylor's work explores ideas of space beyond the physical object. Their(...)
Title:
Form follows idea : an introduction to design poetics
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"Form follows idea" examines the work and ideas of designers Ralph Ball and Maxine Naylor. Their reflections and propositions here provide a refreshing and provocative approach to design, touching on issues such as craftsmanship, modernism, and the role of nature and commercialism in design. Ball and Naylor's work explores ideas of space beyond the physical object. Their concern with cultural and social values is manifest in the form and (dis)function of their designs and appropiations of everyday objects, such as chairs, lights and shelving. "Form follows idea" features their approach to these objects through cultural, ecological and visual narratives. As such, this book provides a playful yet critical re-evaluation of familiar forms and typologies.
Form follows idea : an introduction to design poetics
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"Form follows idea" examines the work and ideas of designers Ralph Ball and Maxine Naylor. Their reflections and propositions here provide a refreshing and provocative approach to design, touching on issues such as craftsmanship, modernism, and the role of nature and commercialism in design. Ball and Naylor's work explores ideas of space beyond the physical object. Their concern with cultural and social values is manifest in the form and (dis)function of their designs and appropiations of everyday objects, such as chairs, lights and shelving. "Form follows idea" features their approach to these objects through cultural, ecological and visual narratives. As such, this book provides a playful yet critical re-evaluation of familiar forms and typologies.
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January 1900, London
January 1900, London
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Title:
Architecture in spain
Architecture in spain
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Delayed by the Spanish Civil War and the ensuing dictatorship under Franco, the emergence of modernity in Spain may have been late in coming, but today's young architects are making up for lost time in a spectacular way. Original personalities like César Manrique Cabrera marked a move toward the modern in the 1960s while Richard Bofill's innovative work in the 70s helped(...)
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Delayed by the Spanish Civil War and the ensuing dictatorship under Franco, the emergence of modernity in Spain may have been late in coming, but today's young architects are making up for lost time in a spectacular way. Original personalities like César Manrique Cabrera marked a move toward the modern in the 1960s while Richard Bofill's innovative work in the 70s helped(...)
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November 2007, Hong Kong, Köln, London, Los Angeles, Madrid
November 2007, Hong Kong, Köln, London, Los Angeles, Madrid
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Architecture in spain
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Delayed by the Spanish Civil War and the ensuing dictatorship under Franco, the emergence of modernity in Spain may have been late in coming, but today's young architects are making up for lost time in a spectacular way. Original personalities like César Manrique Cabrera marked a move toward the modern in the 1960s while Richard Bofill's innovative work in the 70s helped bring Spanish architecture to the world stage. In the 1990s, architects such as Rafael Moneo and Santiago Calatrava began to create the look of contemporary architecture in Spain as we know it today. From a modern interpretation of a bullring to cutting-edge green architecture, the book covers a dizzying variety of architectural innovation.
Architecture in spain
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Delayed by the Spanish Civil War and the ensuing dictatorship under Franco, the emergence of modernity in Spain may have been late in coming, but today's young architects are making up for lost time in a spectacular way. Original personalities like César Manrique Cabrera marked a move toward the modern in the 1960s while Richard Bofill's innovative work in the 70s helped bring Spanish architecture to the world stage. In the 1990s, architects such as Rafael Moneo and Santiago Calatrava began to create the look of contemporary architecture in Spain as we know it today. From a modern interpretation of a bullring to cutting-edge green architecture, the book covers a dizzying variety of architectural innovation.
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November 2007, Hong Kong, Köln, London, Los Angeles, Madrid
November 2007, Hong Kong, Köln, London, Los Angeles, Madrid
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Famous for massive public art projects, including "Wrapped Coast, One Million Square Feet" in Australia and "Running Fence" in Northern California, Christo Javacheff and his wife Jeanne-Claude were used to dealing with intransigent bureaucracies. But they hadn't reckoned with New York City. The couple's 1979 project--temporarily placing thousands of saffron-colored(...)
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Famous for massive public art projects, including "Wrapped Coast, One Million Square Feet" in Australia and "Running Fence" in Northern California, Christo Javacheff and his wife Jeanne-Claude were used to dealing with intransigent bureaucracies. But they hadn't reckoned with New York City. The couple's 1979 project--temporarily placing thousands of saffron-colored(...)
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Christo & Jeanne-claude : The Gates
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Famous for massive public art projects, including "Wrapped Coast, One Million Square Feet" in Australia and "Running Fence" in Northern California, Christo Javacheff and his wife Jeanne-Claude were used to dealing with intransigent bureaucracies. But they hadn't reckoned with New York City. The couple's 1979 project--temporarily placing thousands of saffron-colored banners across the walkways of 843-acre Central Park--did not receive the city's blessing until 2003. Published in advance of the 16-day installation in February 2005, Christo and Jeanne-Claude: The Gates is a picture book that moves briskly from photographs of early presentations and hearings to numerous shots of workers assembling the steel, aluminum, vinyl and rip-stop nylon components of the piece.
Christo & Jeanne-claude : The Gates
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Famous for massive public art projects, including "Wrapped Coast, One Million Square Feet" in Australia and "Running Fence" in Northern California, Christo Javacheff and his wife Jeanne-Claude were used to dealing with intransigent bureaucracies. But they hadn't reckoned with New York City. The couple's 1979 project--temporarily placing thousands of saffron-colored banners across the walkways of 843-acre Central Park--did not receive the city's blessing until 2003. Published in advance of the 16-day installation in February 2005, Christo and Jeanne-Claude: The Gates is a picture book that moves briskly from photographs of early presentations and hearings to numerous shots of workers assembling the steel, aluminum, vinyl and rip-stop nylon components of the piece.
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September 2006, New York
September 2006, New York
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At the turn of the last century, the Arts and Crafts movement transformed not only how objects looked but also how people looked at objects. It provided a framework for essential issues that are still debated today: the conflict between standardization and individuality, the question of whether a one-of-a-kind handcrafted object is superior to a mass-produced one, and(...)
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At the turn of the last century, the Arts and Crafts movement transformed not only how objects looked but also how people looked at objects. It provided a framework for essential issues that are still debated today: the conflict between standardization and individuality, the question of whether a one-of-a-kind handcrafted object is superior to a mass-produced one, and(...)
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The arts & craft movement in Europe & America : design for the modern world
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At the turn of the last century, the Arts and Crafts movement transformed not only how objects looked but also how people looked at objects. It provided a framework for essential issues that are still debated today: the conflict between standardization and individuality, the question of whether a one-of-a-kind handcrafted object is superior to a mass-produced one, and the problem of defining what kind of design most benefits society. The book features masterworks by the best-known designers of the period, such as William Morris, M. H. Baillie Scott, Henry Van de Velde, Peter Behrens, Josef Hoffmann, Eliel Saarinen, Greene and Greene, and Frank Lloyd Wright, as well as lesser-known examples that have never been displayed together before.
The arts & craft movement in Europe & America : design for the modern world
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At the turn of the last century, the Arts and Crafts movement transformed not only how objects looked but also how people looked at objects. It provided a framework for essential issues that are still debated today: the conflict between standardization and individuality, the question of whether a one-of-a-kind handcrafted object is superior to a mass-produced one, and the problem of defining what kind of design most benefits society. The book features masterworks by the best-known designers of the period, such as William Morris, M. H. Baillie Scott, Henry Van de Velde, Peter Behrens, Josef Hoffmann, Eliel Saarinen, Greene and Greene, and Frank Lloyd Wright, as well as lesser-known examples that have never been displayed together before.
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December 2004, New York
December 2004, New York
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$32.50
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This book tells the story of the influential group of creative artists--Pauline Oliveros, Morton Subotnick, Ramon Sender, William Maginnis, and Tony Martin--who connected music to technology during a legendary era in California's cultural history. An integral part of the robust San Francisco "scene," the San Francisco Tape Music Center developed new art forms through(...)
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This book tells the story of the influential group of creative artists--Pauline Oliveros, Morton Subotnick, Ramon Sender, William Maginnis, and Tony Martin--who connected music to technology during a legendary era in California's cultural history. An integral part of the robust San Francisco "scene," the San Francisco Tape Music Center developed new art forms through(...)
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Publication:
June 2008, Berkeley, Los Angeles, London
June 2008, Berkeley, Los Angeles, London
Title:
The San Francisco tape music center: 1960s counterculture and the avant-garde
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This book tells the story of the influential group of creative artists--Pauline Oliveros, Morton Subotnick, Ramon Sender, William Maginnis, and Tony Martin--who connected music to technology during a legendary era in California's cultural history. An integral part of the robust San Francisco "scene," the San Francisco Tape Music Center developed new art forms through collaborations with Terry Riley, Steve Reich, David Tudor, Ken Dewey, Lee Breuer, the San Francisco Actor's Workshop, the San Francisco Mime Troupe, the Ann Halprin Dancers' Workshop, Canyon Cinema, and others. Told through vivid personal accounts, interviews, and retrospective essays by leading scholars and artists, this work, capturing the heady experimental milieu of the sixties, is the first comprehensive history of the San Francisco Tape Music Center.
The San Francisco tape music center: 1960s counterculture and the avant-garde
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This book tells the story of the influential group of creative artists--Pauline Oliveros, Morton Subotnick, Ramon Sender, William Maginnis, and Tony Martin--who connected music to technology during a legendary era in California's cultural history. An integral part of the robust San Francisco "scene," the San Francisco Tape Music Center developed new art forms through collaborations with Terry Riley, Steve Reich, David Tudor, Ken Dewey, Lee Breuer, the San Francisco Actor's Workshop, the San Francisco Mime Troupe, the Ann Halprin Dancers' Workshop, Canyon Cinema, and others. Told through vivid personal accounts, interviews, and retrospective essays by leading scholars and artists, this work, capturing the heady experimental milieu of the sixties, is the first comprehensive history of the San Francisco Tape Music Center.
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June 2008, Berkeley, Los Angeles, London
June 2008, Berkeley, Los Angeles, London
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