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books
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Now is the phantom chapter to the Invisible Committee's previous book, To Our Friends: a new critique from the anonymous collective that establishes their opposition to the world of capital and its law of labor, addresses current anti-terrorist rhetoric and the ferocious repression that comes with it, and clarifies the end of social democracy and the growing rumors of the(...)
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Now is the phantom chapter to the Invisible Committee's previous book, To Our Friends: a new critique from the anonymous collective that establishes their opposition to the world of capital and its law of labor, addresses current anti-terrorist rhetoric and the ferocious repression that comes with it, and clarifies the end of social democracy and the growing rumors of the(...)
Title:
Now
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Now is the phantom chapter to the Invisible Committee's previous book, To Our Friends: a new critique from the anonymous collective that establishes their opposition to the world of capital and its law of labor, addresses current anti-terrorist rhetoric and the ferocious repression that comes with it, and clarifies the end of social democracy and the growing rumors of the need for a coming “civil war.” Now emerges at a time when the Invisible Committee’s contestation has found echoes throughout the West, with a collapse of trust in the police, an inept weariness on the part of the political system, a growing urgency for opposition, a return of the theme of the Commune, a vanishing distinction between radicals and citizens, and a widespread refusal on the part of the citizen to be governed. As farcical political elections continue to unfold worldwide like a line of tumbling dominoes, and governments increasingly struggle to reclaim a legitimacy that has already slipped out of their grasp, Now clarifies the Invisible Committee’s attitude toward all such elections and their outcome: one of utter indifference. Now proposes a “destituent process” that charts out a different path to be taken, a path of outright refusal that simply ignores elections altogether. It is a path that calls for taking over the world and not taking power, for exploring new forms of life and not a new constitution, and for desertion and silence as alternatives to proclamations and crashes. It is also a call for an unprecedented communism—a communism stronger than nation and country.
Now
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Now is the phantom chapter to the Invisible Committee's previous book, To Our Friends: a new critique from the anonymous collective that establishes their opposition to the world of capital and its law of labor, addresses current anti-terrorist rhetoric and the ferocious repression that comes with it, and clarifies the end of social democracy and the growing rumors of the need for a coming “civil war.” Now emerges at a time when the Invisible Committee’s contestation has found echoes throughout the West, with a collapse of trust in the police, an inept weariness on the part of the political system, a growing urgency for opposition, a return of the theme of the Commune, a vanishing distinction between radicals and citizens, and a widespread refusal on the part of the citizen to be governed. As farcical political elections continue to unfold worldwide like a line of tumbling dominoes, and governments increasingly struggle to reclaim a legitimacy that has already slipped out of their grasp, Now clarifies the Invisible Committee’s attitude toward all such elections and their outcome: one of utter indifference. Now proposes a “destituent process” that charts out a different path to be taken, a path of outright refusal that simply ignores elections altogether. It is a path that calls for taking over the world and not taking power, for exploring new forms of life and not a new constitution, and for desertion and silence as alternatives to proclamations and crashes. It is also a call for an unprecedented communism—a communism stronger than nation and country.
Form:
books
books
Publication:
November 2017
November 2017
Subject:
Critical Theory
Critical Theory
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books
books
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$9.75
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Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's(...)
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Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's(...)
Title:
Greece in spectacular cross-section
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Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's final destination is the great games at Olympia, but he has many adventures and sees many sights along the way : fearsome Athenian warships at the sacred island of Delos; the rich silver mines of Laurion; the hurly-burly of the port and streets of Athens; the splendour of the Agora and the Acropolis; and a visit to the sacred oracle at Delphi. Biesty's Greece is an illustrated tour-de-force, featuring a stunning array of cross-sections, cutaways and explosions. Each drawing highlights Biesty's trademark attention to detail and is backed up by authoritative text and annotations. Biesty's eye for the quirky details of daily life combines with a witty and engaging text to provide an unforgettable window into the world of ancient Greece. Pitched at the 9-12-year-old, this book is destined to bring the ancient world to life for a wide range of readers. No aspect of Greek life is left out... domestic life, religion and the gods, the role of women, children and education, philosophy and learning, myths and legends, government, politics and law, economy and trade, warfare and slavery, the Olympic Games, music and drama, painting, pottery and sculpture, building and architecture, ships and seafaring.
Greece in spectacular cross-section
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$9.75
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Summary:
Following on from his internationally bestselling books on Rome and Egypt, illustrator Stephen Biesty brings his magic touch to the cradle of civilization - classical Greece. The year is 436 BCE - Olympic year - and 11-year-old Neleus is about to embark on the journey of a lifetime. Setting off from his home in Miletus with his father and brother, our young hero's final destination is the great games at Olympia, but he has many adventures and sees many sights along the way : fearsome Athenian warships at the sacred island of Delos; the rich silver mines of Laurion; the hurly-burly of the port and streets of Athens; the splendour of the Agora and the Acropolis; and a visit to the sacred oracle at Delphi. Biesty's Greece is an illustrated tour-de-force, featuring a stunning array of cross-sections, cutaways and explosions. Each drawing highlights Biesty's trademark attention to detail and is backed up by authoritative text and annotations. Biesty's eye for the quirky details of daily life combines with a witty and engaging text to provide an unforgettable window into the world of ancient Greece. Pitched at the 9-12-year-old, this book is destined to bring the ancient world to life for a wide range of readers. No aspect of Greek life is left out... domestic life, religion and the gods, the role of women, children and education, philosophy and learning, myths and legends, government, politics and law, economy and trade, warfare and slavery, the Olympic Games, music and drama, painting, pottery and sculpture, building and architecture, ships and seafaring.
Form:
books
books
Publication:
September 2006, Oxford, New York
September 2006, Oxford, New York
Subject:
Children's Books
Children's Books
Form:
books
books
Title:
Overlook : exploring the internal fringes of America with the Center for land use interpretation
Overlook : exploring the internal fringes of America with the Center for land use interpretation
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$42.00
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The Center for land use interpretation is a research-based educational organization that produces public programs about the built landscape of the United States from its sites in Los Angeles, Utah and the Mojave desert, with an upstate New York location opening in 2006. The Center’s aim is to increase and diffuse information about how the nation’s lands are apportioned,(...)
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The Center for land use interpretation is a research-based educational organization that produces public programs about the built landscape of the United States from its sites in Los Angeles, Utah and the Mojave desert, with an upstate New York location opening in 2006. The Center’s aim is to increase and diffuse information about how the nation’s lands are apportioned,(...)
Title:
Overlook : exploring the internal fringes of America with the Center for land use interpretation
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$42.00
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The Center for land use interpretation is a research-based educational organization that produces public programs about the built landscape of the United States from its sites in Los Angeles, Utah and the Mojave desert, with an upstate New York location opening in 2006. The Center’s aim is to increase and diffuse information about how the nation’s lands are apportioned, utilized and perceived. Recent examples of their work include a two-day "Tour of the monuments of the great American void" by bus and the exhibit "Immersed remains: towns submerged in America". This book takes readers on a tour through the strangely unfamiliar land that Americans live in, demonstrating that we can understand ourselves by examining the clues on display all around us, often clearly visible but ignored. Each chapter explores a different topic, from an in-depth look at Ohio ("the most all-American state"); through scale shifts in model landscapes, exemplified in the three largest hydraulic models in the world; and law-enforcement training environments that "simulate" public space. Readers can dive into the hidden and enchanting world of show caves, where America is on display underground; and come up into the Great Basin, a zone covering most of Nevada, and portions of Utah, California, Oregon, Idaho and Mexico, whose network of watersheds has no outlet to the ocean. Following lines and edges, through cities, suburbs, small towns and wide-open spaces, the Center guides us upstream, toward the heart of another America - the same, but different.
Overlook : exploring the internal fringes of America with the Center for land use interpretation
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$42.00
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Summary:
The Center for land use interpretation is a research-based educational organization that produces public programs about the built landscape of the United States from its sites in Los Angeles, Utah and the Mojave desert, with an upstate New York location opening in 2006. The Center’s aim is to increase and diffuse information about how the nation’s lands are apportioned, utilized and perceived. Recent examples of their work include a two-day "Tour of the monuments of the great American void" by bus and the exhibit "Immersed remains: towns submerged in America". This book takes readers on a tour through the strangely unfamiliar land that Americans live in, demonstrating that we can understand ourselves by examining the clues on display all around us, often clearly visible but ignored. Each chapter explores a different topic, from an in-depth look at Ohio ("the most all-American state"); through scale shifts in model landscapes, exemplified in the three largest hydraulic models in the world; and law-enforcement training environments that "simulate" public space. Readers can dive into the hidden and enchanting world of show caves, where America is on display underground; and come up into the Great Basin, a zone covering most of Nevada, and portions of Utah, California, Oregon, Idaho and Mexico, whose network of watersheds has no outlet to the ocean. Following lines and edges, through cities, suburbs, small towns and wide-open spaces, the Center guides us upstream, toward the heart of another America - the same, but different.
Form:
books
books
Publication:
June 2006, New York
June 2006, New York
Subject:
Land Art
Land Art
Form:
books
books
Title:
Gunnar Asplund
Gunnar Asplund
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$99.95
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive(...)
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive(...)
Title:
Gunnar Asplund
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive understanding of the relationship between architecture and its surrounding landscape. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915 Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund’s Woodland Chapel of 1920 is tucked into the forest and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. The Gothenburg Law Courts, another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and façade. Buildings such as the architect’s own summer house at Stennäs and the crematoria at Kviberg and Skövde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences and are evidence that not all forms of Modernism constituted a fresh start.
Gunnar Asplund
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Although a contemporary of Walter Gropius and Le Corbusier, Asplund pursued an architecture that does not fit easily into their view of Modernism as a movement that rejected the applied styles and ornamentation of the nineteenth century. Instead, Asplund was at ease with classical or vernacular elements blending with modernist ideals, and displayed a sensitive understanding of the relationship between architecture and its surrounding landscape. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915 Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund’s Woodland Chapel of 1920 is tucked into the forest and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. The Gothenburg Law Courts, another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and façade. Buildings such as the architect’s own summer house at Stennäs and the crematoria at Kviberg and Skövde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences and are evidence that not all forms of Modernism constituted a fresh start.
Form:
books
books
Publication:
October 2004, London
October 2004, London
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$90.00
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born(...)
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born(...)
Title:
Gordon Matta-Clark: works and collected writings
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born Surrealist painter Roberto Matta and Anne Clark, and godson of Marcel Duchamp, with whom he played a regular game of chess in the Village, Matta-Clark had grown up inside the art world, also working an as assistant to mavericks like Dennis Oppenheim and Robert Smithson. His work and words, while sophisticated enough to make him an "artist's artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. He addressed not only space and real estate (in other words, housing), but the ultimate in necessity and nourishment, food. His "Pig Roast" under the Brooklyn Bridge offered passersby 500 pork sandwiches, and Food, the artist-staffed restaurant that he opened with dancer Caroline Goodden in SoHo, became a headquarters for that nascent neighborhood in the early 70s. He consistently broke the boundaries between sculpture and architecture, photography and film, performance and installation, and above all the permanent and the transitory. Once in a while he also broke the law. This book, published in celebration of the gradual opening of Matta-Clark's archives at the Canadian Centre for Architecture in Montreal, collects previously unavailable writings, including notecards and notebooks, along with interviews and more than 100 illustrations.
Gordon Matta-Clark: works and collected writings
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$90.00
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Gordon Matta-Clark, scion and rebel, died at 35 in 1978 and has since become a cult figure of late-twentieth-century art. Born in New York and trained in architecture at Cornell, he went on to question the field's conventions in vivid projects that excised holes into existing buildings or assembled deeds to New York City alleys and curbs. As the son of the Chilean-born Surrealist painter Roberto Matta and Anne Clark, and godson of Marcel Duchamp, with whom he played a regular game of chess in the Village, Matta-Clark had grown up inside the art world, also working an as assistant to mavericks like Dennis Oppenheim and Robert Smithson. His work and words, while sophisticated enough to make him an "artist's artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. He addressed not only space and real estate (in other words, housing), but the ultimate in necessity and nourishment, food. His "Pig Roast" under the Brooklyn Bridge offered passersby 500 pork sandwiches, and Food, the artist-staffed restaurant that he opened with dancer Caroline Goodden in SoHo, became a headquarters for that nascent neighborhood in the early 70s. He consistently broke the boundaries between sculpture and architecture, photography and film, performance and installation, and above all the permanent and the transitory. Once in a while he also broke the law. This book, published in celebration of the gradual opening of Matta-Clark's archives at the Canadian Centre for Architecture in Montreal, collects previously unavailable writings, including notecards and notebooks, along with interviews and more than 100 illustrations.
Form:
books
books
Publication:
October 2006
October 2006
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
journals and magazines
journals and magazines
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Description:
1 online resource
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Subject:
Publication:
Baltimore, Md. : American Political Science Association, 1906-, New York, NY : Cambridge University Press
Baltimore, Md. : American Political Science Association, 1906-, New York, NY : Cambridge University Press
Form:
journals and magazines
journals and magazines
Publication:
Baltimore, Md. : American Political Science Association, 1906-, New York, NY : Cambridge University Press
Baltimore, Md. : American Political Science Association, 1906-, New York, NY : Cambridge University Press
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Subject:
Form:
journals and magazines
journals and magazines
Title:
Future anterior
Future anterior
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$14.95
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Summary:
Historic preservation is at an important moment of rethinking. The field has grown exponentially in America since its first academic program was founded at Columbia University in 1965. Although initially concerned only with buildings, preservation has recently expanded to include the protection and creative interpretation of entire urban environments, landscapes,(...)
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Summary:
Historic preservation is at an important moment of rethinking. The field has grown exponentially in America since its first academic program was founded at Columbia University in 1965. Although initially concerned only with buildings, preservation has recently expanded to include the protection and creative interpretation of entire urban environments, landscapes,(...)
Title:
Future anterior
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Historic preservation is at an important moment of rethinking. The field has grown exponentially in America since its first academic program was founded at Columbia University in 1965. Although initially concerned only with buildings, preservation has recently expanded to include the protection and creative interpretation of entire urban environments, landscapes, highways, cultural traditions, artistic practices, and even specific “experiences” such as historic view sheds. Most importantly, historic preservation is beginning a significant re-clarification of its purposes, sharpening and deepening its focus on the contributions old architecture and artifacts make to our understanding of the human condition and how we should address and live in it. Future Anterior is the first and only journal in American academia to be devoted to the study and advancement of preservation, which brings together the interests of scholars and professionals in multiple disciplines such as architecture, art, history, philosophy, law, planning, materials science, cultural anthropology, conservation, and others. Future Anterior establishes an important and much needed forum for the critical examination of this expanding discipline, to spur challenges of its motives, goals, forms of practice and results. The appearance of Future Anterior signals the maturation of the field of preservation and a shift away from nostalgic antiquarianism towards an active involvement in the understanding and creative transformation of human environments. This turn in preservation is reflected in an increased interest in historic architecture and artifacts as expressive resources of great public importance. The destruction of patrimony, from the colossal Buddhas in Afghanistan to New York’s World Trade Center, is seen not just as barbarism but as sources of understanding about where we are going wrong and what we need to do next. In response, architects, planners, urban designers, and artists have been producing works which engage the public in new ways of reflecting and taking on the past not as constraint but as provocation.
Future anterior
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$14.95
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Summary:
Historic preservation is at an important moment of rethinking. The field has grown exponentially in America since its first academic program was founded at Columbia University in 1965. Although initially concerned only with buildings, preservation has recently expanded to include the protection and creative interpretation of entire urban environments, landscapes, highways, cultural traditions, artistic practices, and even specific “experiences” such as historic view sheds. Most importantly, historic preservation is beginning a significant re-clarification of its purposes, sharpening and deepening its focus on the contributions old architecture and artifacts make to our understanding of the human condition and how we should address and live in it. Future Anterior is the first and only journal in American academia to be devoted to the study and advancement of preservation, which brings together the interests of scholars and professionals in multiple disciplines such as architecture, art, history, philosophy, law, planning, materials science, cultural anthropology, conservation, and others. Future Anterior establishes an important and much needed forum for the critical examination of this expanding discipline, to spur challenges of its motives, goals, forms of practice and results. The appearance of Future Anterior signals the maturation of the field of preservation and a shift away from nostalgic antiquarianism towards an active involvement in the understanding and creative transformation of human environments. This turn in preservation is reflected in an increased interest in historic architecture and artifacts as expressive resources of great public importance. The destruction of patrimony, from the colossal Buddhas in Afghanistan to New York’s World Trade Center, is seen not just as barbarism but as sources of understanding about where we are going wrong and what we need to do next. In response, architects, planners, urban designers, and artists have been producing works which engage the public in new ways of reflecting and taking on the past not as constraint but as provocation.
Form:
journals and magazines
journals and magazines
Publication:
October 2004, New York
October 2004, New York
Subject:
Magazines
Magazines
Form:
books
books
Price:
$90.95
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Summary:
Roger Fenton (1819-1869) was England’s most celebrated and influential photographer during the 1850s, the “golden age” of this radically new medium. Fenton’s majestic pictures of cathedrals, country houses, and varied countryside were without peer in England--as were his views of the royal castles and Houses of Parliament that embodied Britain’s power. But Fenton’s(...)
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Roger Fenton (1819-1869) was England’s most celebrated and influential photographer during the 1850s, the “golden age” of this radically new medium. Fenton’s majestic pictures of cathedrals, country houses, and varied countryside were without peer in England--as were his views of the royal castles and Houses of Parliament that embodied Britain’s power. But Fenton’s(...)
Subject:
Photography monographs
Photography monographs
Publication:
November 2004, New Haven, London
November 2004, New Haven, London
Title:
All the mighty world : the photographs of Roger Fenton, 1852-1860
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Roger Fenton (1819-1869) was England’s most celebrated and influential photographer during the 1850s, the “golden age” of this radically new medium. Fenton’s majestic pictures of cathedrals, country houses, and varied countryside were without peer in England--as were his views of the royal castles and Houses of Parliament that embodied Britain’s power. But Fenton’s choice of subjects ranged more widely still: he was among the first to photograph the Kremlin and other landmarks of Moscow and Kiev; he was commissioned in 1855 to document the Crimean War, producing early war photographs; and he created theatrical Orientalist costume pictures and a startling series of lush still lifes. Fenton had first studied law and painting, but soon after he took up the camera he was making photographs that were technically superb and highly original in their handling of composition, perspective, atmosphere, and light. Always he strove to demonstrate that photography could equal the art of painting and even surpass it. He was the force behind the founding of the Photographic Society (later the Royal Photographic Society), which worked to advance the profession and encouraged the exhibition of members’ works throughout Britain. In a career of a single decade, Fenton did much to transform photography into a medium of powerful expression and visual delight. This exquisitely produced book--the first comprehensive publication on Fenton in almost twenty years--presents eighty-five of the artist’s finest photographs and discusses every aspect of his work and his remarkable career. This catalogue accompanies an exhibition on view at the National Gallery of Art, Washington, D.C. (October 17, 2004, to January 2, 2005); the J. Paul Getty Museum, Los Angeles (February 1 to April 25, 2005); The Metropolitan Museum of Art, New York (May 16 to August 14, 2005); and Tate Britain, London (September 25, 2005, to January 2, 2006).
All the mighty world : the photographs of Roger Fenton, 1852-1860
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$90.95
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Summary:
Roger Fenton (1819-1869) was England’s most celebrated and influential photographer during the 1850s, the “golden age” of this radically new medium. Fenton’s majestic pictures of cathedrals, country houses, and varied countryside were without peer in England--as were his views of the royal castles and Houses of Parliament that embodied Britain’s power. But Fenton’s choice of subjects ranged more widely still: he was among the first to photograph the Kremlin and other landmarks of Moscow and Kiev; he was commissioned in 1855 to document the Crimean War, producing early war photographs; and he created theatrical Orientalist costume pictures and a startling series of lush still lifes. Fenton had first studied law and painting, but soon after he took up the camera he was making photographs that were technically superb and highly original in their handling of composition, perspective, atmosphere, and light. Always he strove to demonstrate that photography could equal the art of painting and even surpass it. He was the force behind the founding of the Photographic Society (later the Royal Photographic Society), which worked to advance the profession and encouraged the exhibition of members’ works throughout Britain. In a career of a single decade, Fenton did much to transform photography into a medium of powerful expression and visual delight. This exquisitely produced book--the first comprehensive publication on Fenton in almost twenty years--presents eighty-five of the artist’s finest photographs and discusses every aspect of his work and his remarkable career. This catalogue accompanies an exhibition on view at the National Gallery of Art, Washington, D.C. (October 17, 2004, to January 2, 2005); the J. Paul Getty Museum, Los Angeles (February 1 to April 25, 2005); The Metropolitan Museum of Art, New York (May 16 to August 14, 2005); and Tate Britain, London (September 25, 2005, to January 2, 2006).
Form:
books
books
Publication:
November 2004, New Haven, London
November 2004, New Haven, London
Subject:
Photography monographs
Photography monographs
Form:
books
books
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Description:
volumes : illustrations, plates, portraits, maps ; 31 cm
Description:
volumes : illustrations, plates, portraits, maps ; 31 cm
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Publication:
St. John's : Newfoundland Book Publishers, [©1937]-
St. John's : Newfoundland Book Publishers, [©1937]-
Title:
The book of Newfoundland / editor, Joseph R. Smallwood ; associate editor, James R. Thomas.
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Description:
volumes : illustrations, plates, portraits, maps ; 31 cm
The book of Newfoundland / editor, Joseph R. Smallwood ; associate editor, James R. Thomas.
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Holdings:
Description:
volumes : illustrations, plates, portraits, maps ; 31 cm
Form:
books
books
Publication:
St. John's : Newfoundland Book Publishers, [©1937]-
St. John's : Newfoundland Book Publishers, [©1937]-
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Subject:
Form:
books
books
Title:
Maya Lin : boundaries
Maya Lin : boundaries
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$34.50
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Summary:
Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site(...)
$34.50
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Summary:
Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site(...)
Title:
Maya Lin : boundaries
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$34.50
(available to order)
Summary:
Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. - subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Maya Lin : boundaries
Actions:
Price:
$34.50
(available to order)
Summary:
Walking through this parklike area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. - subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture - the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field - her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book : an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. "Boundaries" is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.
Form:
books
books
Publication:
September 2006, New York
September 2006, New York
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
