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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with(...)
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with(...)
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Michael Asher : Kunsthalle Bern, 1929
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This "displacement of givens" offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation. Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.
Michael Asher : Kunsthalle Bern, 1929
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In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This "displacement of givens" offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation. Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.
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books
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November 2012
November 2012
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Art Theory
Art Theory
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof(...)
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof(...)
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Josep Lluis Sert: Joan Miro foundation
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof terraces above. (Two subsequent expansions to the building were designed by Jaume Freixa, a pupil and longtime colleague of Sert's.) After the first major retrospective of Miró's work occurred in Barcelona in 1968, the artist decided to set up a building to make his work and the work of other contemporary artists permanently accessible to the public. To design the foundation's home, he tapped his old friend Sert, a pioneer in the introduction of modern architecture in Catalonia, who had first met Miró in 1932 and worked with him on the Spanish (Republican) Pavilion at the Paris World Fair in 1937. This volume, one of a series of monographs on new museum architecture, provides a careful look at the design of one of Europe's premier art institutions, and includes an interview with the architects responsible for the recent expansions.
Josep Lluis Sert: Joan Miro foundation
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The Joan Miró Foundation opened in 1975, becoming Barcelona's first public institution to focus entirely on contemporary art. The architect Josep Lluís Sert designed the Foundation's building with clean, airy white shapes of curves and corners and multiple skylights, creating a decidedly Mediterranean-flavored complex arranged around a central patio, with expansive roof terraces above. (Two subsequent expansions to the building were designed by Jaume Freixa, a pupil and longtime colleague of Sert's.) After the first major retrospective of Miró's work occurred in Barcelona in 1968, the artist decided to set up a building to make his work and the work of other contemporary artists permanently accessible to the public. To design the foundation's home, he tapped his old friend Sert, a pioneer in the introduction of modern architecture in Catalonia, who had first met Miró in 1932 and worked with him on the Spanish (Republican) Pavilion at the Paris World Fair in 1937. This volume, one of a series of monographs on new museum architecture, provides a careful look at the design of one of Europe's premier art institutions, and includes an interview with the architects responsible for the recent expansions.
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books
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September 2010
September 2010
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Museums and Universal Exhibitions
Museums and Universal Exhibitions
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x, 310 pages : illustrations ; 24 cm
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x, 310 pages : illustrations ; 24 cm
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Columbus : Ohio State University Press, ©1984.
Columbus : Ohio State University Press, ©1984.
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Cities Built to Music : Aesthetic Theories of the Victorian Gothic Revival / Michael Bright.
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x, 310 pages : illustrations ; 24 cm
Cities Built to Music : Aesthetic Theories of the Victorian Gothic Revival / Michael Bright.
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x, 310 pages : illustrations ; 24 cm
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Columbus : Ohio State University Press, ©1984.
Columbus : Ohio State University Press, ©1984.
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319 pages : illustrations (chiefly color), plans, portraits ; 21 x 25 cm
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319 pages : illustrations (chiefly color), plans, portraits ; 21 x 25 cm
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Zurich : Lars Müller Publishers ; [Cambridge, Massachusetts] : Harvard University Graduate School of Design, [2021], ©2021
Zurich : Lars Müller Publishers ; [Cambridge, Massachusetts] : Harvard University Graduate School of Design, [2021], ©2021
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Kazuo Shinohara : traversing the house and the city / edited by Seng Kuan.
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319 pages : illustrations (chiefly color), plans, portraits ; 21 x 25 cm
Kazuo Shinohara : traversing the house and the city / edited by Seng Kuan.
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319 pages : illustrations (chiefly color), plans, portraits ; 21 x 25 cm
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Zurich : Lars Müller Publishers ; [Cambridge, Massachusetts] : Harvard University Graduate School of Design, [2021], ©2021
Zurich : Lars Müller Publishers ; [Cambridge, Massachusetts] : Harvard University Graduate School of Design, [2021], ©2021
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xi, 305 pages : illustrations ; 23 cm.
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xi, 305 pages : illustrations ; 23 cm.
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Minneapolis : University of Minnesota Press, [2019]
Minneapolis : University of Minnesota Press, [2019]
Title:
The rent of form : architecture and labor in the digital age / Pedro Fiori Arantes ; translated by Adriana Kauffmann ; foreword by Reinhold Martin.
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xi, 305 pages : illustrations ; 23 cm.
The rent of form : architecture and labor in the digital age / Pedro Fiori Arantes ; translated by Adriana Kauffmann ; foreword by Reinhold Martin.
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xi, 305 pages : illustrations ; 23 cm.
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books
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Minneapolis : University of Minnesota Press, [2019]
Minneapolis : University of Minnesota Press, [2019]
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xii, 378 pages : illustrations, maps ; 24 cm
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xii, 378 pages : illustrations, maps ; 24 cm
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Toronto : University of Toronto Press, 2011.
Toronto : University of Toronto Press, 2011.
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Reshaping Toronto's waterfront / edited by Gene Desfor and Jennefer Laidley.
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xii, 378 pages : illustrations, maps ; 24 cm
Reshaping Toronto's waterfront / edited by Gene Desfor and Jennefer Laidley.
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xii, 378 pages : illustrations, maps ; 24 cm
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Toronto : University of Toronto Press, 2011.
Toronto : University of Toronto Press, 2011.
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Conceived and directed by Emilio Ambasz. With essays by Jean Baudrillard, Manuel Castells, Gillo Dorfles, Ronald Dworkin, Umberto Eco, Erich Jantsch, Suzanne Keller, Gyorgy Kepes, Richard L. Meier, Martin Pawley, Octavio Paz, Anatol Rapoport, Meyer Schapiro, Carl Schorske and Jivan Tabibian, among others. With foreword by Terrance Riley. In January of 1972, The Museum(...)
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Conceived and directed by Emilio Ambasz. With essays by Jean Baudrillard, Manuel Castells, Gillo Dorfles, Ronald Dworkin, Umberto Eco, Erich Jantsch, Suzanne Keller, Gyorgy Kepes, Richard L. Meier, Martin Pawley, Octavio Paz, Anatol Rapoport, Meyer Schapiro, Carl Schorske and Jivan Tabibian, among others. With foreword by Terrance Riley. In January of 1972, The Museum(...)
Title:
The universitas project : solutions for a post-technological society
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Conceived and directed by Emilio Ambasz. With essays by Jean Baudrillard, Manuel Castells, Gillo Dorfles, Ronald Dworkin, Umberto Eco, Erich Jantsch, Suzanne Keller, Gyorgy Kepes, Richard L. Meier, Martin Pawley, Octavio Paz, Anatol Rapoport, Meyer Schapiro, Carl Schorske and Jivan Tabibian, among others. With foreword by Terrance Riley. In January of 1972, The Museum of Modern Art hosted "The universitas project," a two-day conference sponsored by the Museum’s International Council and the Institute for Architecture and Urban Studies. The participants, from a wide range of scholarly and artistic disciplines, engaged in a multidisciplinary debate on the future of design and design institutions in the postindustrial era. The project was originally described as "a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment...specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu." This volume publishes in their entirety the various components of the conference : the working papers that set the terms of the debate; the essays submitted by the invitees; the proceedings of the symposia responding to the papers; and the postscripts provided by the participants after the event.
The universitas project : solutions for a post-technological society
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Conceived and directed by Emilio Ambasz. With essays by Jean Baudrillard, Manuel Castells, Gillo Dorfles, Ronald Dworkin, Umberto Eco, Erich Jantsch, Suzanne Keller, Gyorgy Kepes, Richard L. Meier, Martin Pawley, Octavio Paz, Anatol Rapoport, Meyer Schapiro, Carl Schorske and Jivan Tabibian, among others. With foreword by Terrance Riley. In January of 1972, The Museum of Modern Art hosted "The universitas project," a two-day conference sponsored by the Museum’s International Council and the Institute for Architecture and Urban Studies. The participants, from a wide range of scholarly and artistic disciplines, engaged in a multidisciplinary debate on the future of design and design institutions in the postindustrial era. The project was originally described as "a critical and prospective inquiry into the relation of man to the natural and the sociocultural environment...specifically planned to explore the possibility of establishing in the United States a new type of institution centered around the task of evaluating and designing the man-made milieu." This volume publishes in their entirety the various components of the conference : the working papers that set the terms of the debate; the essays submitted by the invitees; the proceedings of the symposia responding to the papers; and the postscripts provided by the participants after the event.
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books
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August 2006, New York
August 2006, New York
Subject:
Architectural Theory
Architectural Theory
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xvi, 638 pages : illustrations ; 25 cm
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xvi, 638 pages : illustrations ; 25 cm
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Bloomington : Published in association with the United States Holocaust Memorial Museum, Washington, D.C. by Indiana University Press, ©1994.
Bloomington : Published in association with the United States Holocaust Memorial Museum, Washington, D.C. by Indiana University Press, ©1994.
Title:
Anatomy of the Auschwitz death camp / Yisrael Gutman and Michael Berenbaum, editors ; editorial board, Yehuda Bauer, Raul Hilberg, and Franciszek Piper.
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xvi, 638 pages : illustrations ; 25 cm
Anatomy of the Auschwitz death camp / Yisrael Gutman and Michael Berenbaum, editors ; editorial board, Yehuda Bauer, Raul Hilberg, and Franciszek Piper.
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xvi, 638 pages : illustrations ; 25 cm
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Bloomington : Published in association with the United States Holocaust Memorial Museum, Washington, D.C. by Indiana University Press, ©1994.
Bloomington : Published in association with the United States Holocaust Memorial Museum, Washington, D.C. by Indiana University Press, ©1994.
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42 pages : illustrations (some color) ; 24 cm.
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42 pages : illustrations (some color) ; 24 cm.
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New Haven : Yale Center for British Art : Yale University Press, [2020]
New Haven : Yale Center for British Art : Yale University Press, [2020]
Title:
The late architectural philosophy of Louis I. Kahn as expressed in the Yale Center for British Art / Jules David Prown.
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42 pages : illustrations (some color) ; 24 cm.
The late architectural philosophy of Louis I. Kahn as expressed in the Yale Center for British Art / Jules David Prown.
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42 pages : illustrations (some color) ; 24 cm.
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books
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New Haven : Yale Center for British Art : Yale University Press, [2020]
New Haven : Yale Center for British Art : Yale University Press, [2020]
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audio
audio
Title:
LONGUE DURÉE II Pt. 2.
LONGUE DURÉE II Pt. 2.
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1 online resource
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[Place of publication not identified] : Disintegrator, 2026.
[Place of publication not identified] : Disintegrator, 2026.
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audio
audio
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[Place of publication not identified] : Disintegrator, 2026.
[Place of publication not identified] : Disintegrator, 2026.
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