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xxi, 776 pages ; 24 cm
Description:
xxi, 776 pages ; 24 cm
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Chicago : University of Chicago Press, 1982.
Chicago : University of Chicago Press, 1982.
Title:
The sociology of art / Arnold Hauser ; translated by Kenneth J. Northcott.
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xxi, 776 pages ; 24 cm
The sociology of art / Arnold Hauser ; translated by Kenneth J. Northcott.
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xxi, 776 pages ; 24 cm
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books
books
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Chicago : University of Chicago Press, 1982.
Chicago : University of Chicago Press, 1982.
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books
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$54.95
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Summary:
Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an(...)
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Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an(...)
Title:
Jet age aesthetic: the glamour of media in motion
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Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an aesthetic that circulated on the ground below. Visual and media culture, including Eero Saarinen’s airports, David Bailey’s photographs of the jet set, and Ernst Haas’s experiments in color photojournalism glamorized the imagery of motion. Drawing on unprecedented access to the archives of The Walt Disney Studios, Schwartz also examines the period’s most successful example of fluid motion meeting media culture: Disneyland. The park’s dedication to “people-moving” defined Walt Disney’s vision, shaping the very identity of the place. The jet age aesthetic laid the groundwork for our contemporary media culture, in which motion is so fluid that we can surf the internet while going nowhere at all.
Jet age aesthetic: the glamour of media in motion
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Vanessa R. Schwartz engagingly presents the jet plane’s power to define a new age at a critical moment in the mid-20th century, arguing that the craft’s speed and smooth ride allowed people to imagine themselves living in the future. Exploring realms as diverse as airport architecture, theme park design, film, and photography, Schwartz argues that the jet created an aesthetic that circulated on the ground below. Visual and media culture, including Eero Saarinen’s airports, David Bailey’s photographs of the jet set, and Ernst Haas’s experiments in color photojournalism glamorized the imagery of motion. Drawing on unprecedented access to the archives of The Walt Disney Studios, Schwartz also examines the period’s most successful example of fluid motion meeting media culture: Disneyland. The park’s dedication to “people-moving” defined Walt Disney’s vision, shaping the very identity of the place. The jet age aesthetic laid the groundwork for our contemporary media culture, in which motion is so fluid that we can surf the internet while going nowhere at all.
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books
books
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April 2020
April 2020
Subject:
Design, Periods and Styles
Design, Periods and Styles
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books
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200 pages : illustrations
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200 pages : illustrations
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Leningrad : Stroĭizdat, 1987.
Leningrad : Stroĭizdat, 1987.
Title:
Ландшафтная архитектура городов Сибири и Европейского Севера / Ю.Б. Хромов. Landshaftnai︠a︡ arkhitektura gorodov Sibiri i Evropeĭskogo Severa / I︠U︡.B. Khromov.
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200 pages : illustrations
Ландшафтная архитектура городов Сибири и Европейского Севера / Ю.Б. Хромов. Landshaftnai︠a︡ arkhitektura gorodov Sibiri i Evropeĭskogo Severa / I︠U︡.B. Khromov.
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200 pages : illustrations
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books
books
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Leningrad : Stroĭizdat, 1987.
Leningrad : Stroĭizdat, 1987.
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books
books
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Caradt 2021
Caradt 2021
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books
books
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Caradt 2021
Caradt 2021
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books
books
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$35.95
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The "ruins" of the modern era are the landmarks of recent art’s turn toward site and situation, history and memory. The abiding interest of artists in ruination and decay has led in particular to the concept of the modern ruin - an ambiguous site of artistic and architectural modernism, personal and collective memories, and the cultural afterlife of eras such as those of(...)
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The "ruins" of the modern era are the landmarks of recent art’s turn toward site and situation, history and memory. The abiding interest of artists in ruination and decay has led in particular to the concept of the modern ruin - an ambiguous site of artistic and architectural modernism, personal and collective memories, and the cultural afterlife of eras such as those of(...)
Title:
Ruins
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The "ruins" of the modern era are the landmarks of recent art’s turn toward site and situation, history and memory. The abiding interest of artists in ruination and decay has led in particular to the concept of the modern ruin - an ambiguous site of artistic and architectural modernism, personal and collective memories, and the cultural afterlife of eras such as those of state communism and colonialism. Contemporary art’s explorations of the ruin can evoke on the one hand diverse experiences of nostalgia and on the other a ceaselessly renewed encounter with catastrophes of the recent past and apprehensions of the future. For every relic of a harmonious era or utopian dream stands another recalling industrial decline, environmental disaster, and the depredations of war. This anthology provides a comprehensive survey of the contemporary ruin in cultural discourse, aesthetics, and artistic practice. It examines the development of ruin aesthetics from the early modern era to the present; the ruin as a privileged emblem of modernity’s decline; the relic as a portal onto the political history of the recent past; the destruction and decline of cities and landscapes, with the emergence of "non-places" and “drosscape”; the symbolism of the entropic and decayed in critical environmentalism; and the confusing temporalities of the ruin in recent art - its involution of timescales and perspectives as it addresses not just the past but the future.
Ruins
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The "ruins" of the modern era are the landmarks of recent art’s turn toward site and situation, history and memory. The abiding interest of artists in ruination and decay has led in particular to the concept of the modern ruin - an ambiguous site of artistic and architectural modernism, personal and collective memories, and the cultural afterlife of eras such as those of state communism and colonialism. Contemporary art’s explorations of the ruin can evoke on the one hand diverse experiences of nostalgia and on the other a ceaselessly renewed encounter with catastrophes of the recent past and apprehensions of the future. For every relic of a harmonious era or utopian dream stands another recalling industrial decline, environmental disaster, and the depredations of war. This anthology provides a comprehensive survey of the contemporary ruin in cultural discourse, aesthetics, and artistic practice. It examines the development of ruin aesthetics from the early modern era to the present; the ruin as a privileged emblem of modernity’s decline; the relic as a portal onto the political history of the recent past; the destruction and decline of cities and landscapes, with the emergence of "non-places" and “drosscape”; the symbolism of the entropic and decayed in critical environmentalism; and the confusing temporalities of the ruin in recent art - its involution of timescales and perspectives as it addresses not just the past but the future.
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books
books
Publication:
September 2011
September 2011
Subject:
Art Theory
Art Theory
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books
books
Title:
Persons and things
Persons and things
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$35.00
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Moving effortlessly between symbolist poetry and Barbie dolls, artificial intelligence and Kleist, Kant, and Winnicott, Barbara Johnson not only clarifies psychological and social dynamics; she also re-dramatizes the work of important tropes—without ever losing sight of the ethical imperative with which she begins: the need to treat persons as persons. In "Persons and(...)
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Moving effortlessly between symbolist poetry and Barbie dolls, artificial intelligence and Kleist, Kant, and Winnicott, Barbara Johnson not only clarifies psychological and social dynamics; she also re-dramatizes the work of important tropes—without ever losing sight of the ethical imperative with which she begins: the need to treat persons as persons. In "Persons and(...)
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Persons and things
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$35.00
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Moving effortlessly between symbolist poetry and Barbie dolls, artificial intelligence and Kleist, Kant, and Winnicott, Barbara Johnson not only clarifies psychological and social dynamics; she also re-dramatizes the work of important tropes—without ever losing sight of the ethical imperative with which she begins: the need to treat persons as persons. In "Persons and Things", Johnson turns deconstruction around to make a fundamental contribution to the new aesthetics. She begins with the most elementary thing we know : deconstruction calls attention to gaps and reveals that their claims upon us are fraudulent. Johnson revolutionizes the method by showing that the inanimate thing exposed as a delusion is central to fantasy life, that fantasy life, however deluded, should be taken seriously, and that although a work of art “is formed around something missing,” this “void is its vanishing point, not its essence.” She shows deftly and delicately that the void inside Keats’s urn, Heidegger’s jug, or Wallace Stevens’s jar forms the center around which we tend to organize our worlds. The new aesthetics should restore fluidities between persons and things. In pursuing it, Johnson calls upon Ovid, Keats, Poe, Plath, and others who have inhabited this in-between space. The entire process operates via a subtlety that only a critic of Johnson’s caliber could reveal to us.
Persons and things
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$35.00
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Summary:
Moving effortlessly between symbolist poetry and Barbie dolls, artificial intelligence and Kleist, Kant, and Winnicott, Barbara Johnson not only clarifies psychological and social dynamics; she also re-dramatizes the work of important tropes—without ever losing sight of the ethical imperative with which she begins: the need to treat persons as persons. In "Persons and Things", Johnson turns deconstruction around to make a fundamental contribution to the new aesthetics. She begins with the most elementary thing we know : deconstruction calls attention to gaps and reveals that their claims upon us are fraudulent. Johnson revolutionizes the method by showing that the inanimate thing exposed as a delusion is central to fantasy life, that fantasy life, however deluded, should be taken seriously, and that although a work of art “is formed around something missing,” this “void is its vanishing point, not its essence.” She shows deftly and delicately that the void inside Keats’s urn, Heidegger’s jug, or Wallace Stevens’s jar forms the center around which we tend to organize our worlds. The new aesthetics should restore fluidities between persons and things. In pursuing it, Johnson calls upon Ovid, Keats, Poe, Plath, and others who have inhabited this in-between space. The entire process operates via a subtlety that only a critic of Johnson’s caliber could reveal to us.
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books
books
Publication:
April 2008, Cambridge, London
April 2008, Cambridge, London
Subject:
Architectural Theory
Architectural Theory
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478 pages : illustrations, plans, portraits ; 32 cm
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478 pages : illustrations, plans, portraits ; 32 cm
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Buenos Aires : Archivos de Arquitectura Contemporánea Argentina, 2007.
Buenos Aires : Archivos de Arquitectura Contemporánea Argentina, 2007.
Title:
Bustillo : un proyecto de "arquitectura nacional" / Martha Levisman ; prólogos, José Manuel Bustillo, Norberto Chaves ; epílogo, Claudia Shmidt.
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478 pages : illustrations, plans, portraits ; 32 cm
Bustillo : un proyecto de "arquitectura nacional" / Martha Levisman ; prólogos, José Manuel Bustillo, Norberto Chaves ; epílogo, Claudia Shmidt.
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478 pages : illustrations, plans, portraits ; 32 cm
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books
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Buenos Aires : Archivos de Arquitectura Contemporánea Argentina, 2007.
Buenos Aires : Archivos de Arquitectura Contemporánea Argentina, 2007.
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398 pages : illustrations (some color) ; 25 cm
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398 pages : illustrations (some color) ; 25 cm
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Cambridge, Masschusetts : The Belknap Press of Harvard University Press, 2015.
Cambridge, Masschusetts : The Belknap Press of Harvard University Press, 2015.
Title:
Photography and the art of chance / Robin Kelsey.
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398 pages : illustrations (some color) ; 25 cm
Photography and the art of chance / Robin Kelsey.
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398 pages : illustrations (some color) ; 25 cm
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books
books
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Cambridge, Masschusetts : The Belknap Press of Harvard University Press, 2015.
Cambridge, Masschusetts : The Belknap Press of Harvard University Press, 2015.
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audio
audio
Description:
1 online resource.
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[Place of publication not identified] : Thinkbelt, 2019.
[Place of publication not identified] : Thinkbelt, 2019.
Title:
Interstitial EP010 : Ugliness and Judgment by Timothy Hyde.
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1 online resource.
Interstitial EP010 : Ugliness and Judgment by Timothy Hyde.
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1 online resource.
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audio
audio
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[Place of publication not identified] : Thinkbelt, 2019.
[Place of publication not identified] : Thinkbelt, 2019.
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books
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299 pages : illustrations (some color) ; 30 cm
Description:
299 pages : illustrations (some color) ; 30 cm
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New Haven, Conn. : Published for the Bard Graduate Center, New York by Yale University Press, ©1999.
New Haven, Conn. : Published for the Bard Graduate Center, New York by Yale University Press, ©1999.
Title:
The secular furniture of E.W. Godwin / Susan Weber Soros.
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299 pages : illustrations (some color) ; 30 cm
The secular furniture of E.W. Godwin / Susan Weber Soros.
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299 pages : illustrations (some color) ; 30 cm
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books
books
Publication:
New Haven, Conn. : Published for the Bard Graduate Center, New York by Yale University Press, ©1999.
New Haven, Conn. : Published for the Bard Graduate Center, New York by Yale University Press, ©1999.
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