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books
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Title:
Eating architecture
Eating architecture
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The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an(...)
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Summary:
The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an(...)
Title:
Eating architecture
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The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an alternative art form. The nineteen essays and "Gallery of Recipes" in "Eating architecture" seize this moment to investigate how art and architecture engage issues of identity, ideology, conviviality, memory, and loss that cookery evokes. The essays are organized into four sections that lead the reader from the landscape to the kitchen, the table, and finally the mouth. The essays in "Place settings" examine the relationships between food and location that arise in culinary colonialism and the global economy of tourism. "Philosophy in the kitchen" traces the routines that create a site for aesthetic experimentation, including an examination of gingerbread houses as art, food, and architectural space. The essays in "Table rules" consider the spatial and performative aspects of eating and the ways in which shared meals are among the most perishable and preserved cultural artifacts. Finally, "Embodied taste" considers the sensual apprehension of food and what it means to consume a work of art. The "Gallery of recipes" contains images by contemporary architects on the subject of eating architecture.
Eating architecture
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Price:
$39.95
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Summary:
The contributors to this collection of essays explore the relationship between food and architecture, asking what can be learned by examining the (often metaphorical) intersection of the preparation of meals and the production of space. In a culture that includes the Food Channel and the knife-juggling chefs of Benihana, food has become not only an obsession but an alternative art form. The nineteen essays and "Gallery of Recipes" in "Eating architecture" seize this moment to investigate how art and architecture engage issues of identity, ideology, conviviality, memory, and loss that cookery evokes. The essays are organized into four sections that lead the reader from the landscape to the kitchen, the table, and finally the mouth. The essays in "Place settings" examine the relationships between food and location that arise in culinary colonialism and the global economy of tourism. "Philosophy in the kitchen" traces the routines that create a site for aesthetic experimentation, including an examination of gingerbread houses as art, food, and architectural space. The essays in "Table rules" consider the spatial and performative aspects of eating and the ways in which shared meals are among the most perishable and preserved cultural artifacts. Finally, "Embodied taste" considers the sensual apprehension of food and what it means to consume a work of art. The "Gallery of recipes" contains images by contemporary architects on the subject of eating architecture.
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books
books
Publication:
April 2006
April 2006
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books
books
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$66.00
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Summary:
This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically(...)
$66.00
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Summary:
This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically(...)
Title:
Making it modern: Essays on the art of the now
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$66.00
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Summary:
This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history. Nochlin was part of an important cohort of scholars writing on modernity, determined to rethink the narratives of the subject under the pressure of contemporary events such as student uprisings, the women’s liberation movement, and the Vietnam War, with the help of politically engaged literary criticism that was emerging at the same time. Nochlin embraced Charles Baudelaire’s conviction that modernity is meant to be of one’s time- and that the role of an art historian was to understand the art of the past not only in its own historical context but according to the urgencies of the contemporary world. From academic debates about the nude in the eighteenth century to the work of Robert Gober in the twenty-first, whatever she turned her analytic eye to was conceived as the art of the now. Including seven previously unpublished pieces, this collection highlights the breadth and diversity of Nochlin’s output across the decades, including discussions on colonialism, fashion, and sex.
Making it modern: Essays on the art of the now
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$66.00
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Summary:
This illustrated collection of essays brings together some of art historian Linda Nochlin’s most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal essay on feminism in art, “Why Have There Been No Great Women Artists?,” she had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history. Nochlin was part of an important cohort of scholars writing on modernity, determined to rethink the narratives of the subject under the pressure of contemporary events such as student uprisings, the women’s liberation movement, and the Vietnam War, with the help of politically engaged literary criticism that was emerging at the same time. Nochlin embraced Charles Baudelaire’s conviction that modernity is meant to be of one’s time- and that the role of an art historian was to understand the art of the past not only in its own historical context but according to the urgencies of the contemporary world. From academic debates about the nude in the eighteenth century to the work of Robert Gober in the twenty-first, whatever she turned her analytic eye to was conceived as the art of the now. Including seven previously unpublished pieces, this collection highlights the breadth and diversity of Nochlin’s output across the decades, including discussions on colonialism, fashion, and sex.
Form:
books
books
Publication:
March 2022
March 2022
Subject:
Art Theory
Art Theory
Form:
books
books
Price:
$35.95
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Summary:
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(...)
$35.95
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Summary:
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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$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 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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Price:
$35.95
(available to order)
Summary:
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.
Form:
books
books
Publication:
September 2011
September 2011
Subject:
Art Theory
Art Theory
Form:
books
books
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$60.00
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Summary:
Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the(...)
$60.00
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Summary:
Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the(...)
Subject:
Photography monographs
Photography monographs
Publication:
May 2006, New York
May 2006, New York
Title:
The transportation of place : Andrea Robbins & Max Becher
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Summary:
Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences.” The work posits vital questions for a globalized world: What are the larger implications of “ideological passing,” when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team’s work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
The transportation of place : Andrea Robbins & Max Becher
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Price:
$60.00
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Summary:
Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences.” The work posits vital questions for a globalized world: What are the larger implications of “ideological passing,” when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team’s work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
Form:
books
books
Publication:
May 2006, New York
May 2006, New York
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$39.95
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Summary:
In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used - or stole, plagiarized, and expropriated - elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an(...)
$39.95
(available to order)
Summary:
In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used - or stole, plagiarized, and expropriated - elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an(...)
Publication:
February 2007, Cambridge (MA)
February 2007, Cambridge (MA)
Title:
The beautiful language of my century : reinventing the language of contestation in postwar France, 1945-1968
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$39.95
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Summary:
In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used - or stole, plagiarized, and expropriated - elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an appropriation from Guy Debord's collaged Mémoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist."The beautiful language of my century" describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today. McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of détournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ("La France déchirée"), Godard's early film Le Petit Soldat, and Christo's Project for a Temporary Wall of Steel Drums. He discusses the French left's adoption in the mid-sixties of the "end of art" as a theoretical position and describes the leftist idea of the fête as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 - when the struggle over language and culture merged with a broader resistance to capitalist modernization.
The beautiful language of my century : reinventing the language of contestation in postwar France, 1945-1968
Actions:
Price:
$39.95
(available to order)
Summary:
In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used - or stole, plagiarized, and expropriated - elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an appropriation from Guy Debord's collaged Mémoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist."The beautiful language of my century" describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today. McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of détournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ("La France déchirée"), Godard's early film Le Petit Soldat, and Christo's Project for a Temporary Wall of Steel Drums. He discusses the French left's adoption in the mid-sixties of the "end of art" as a theoretical position and describes the leftist idea of the fête as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 - when the struggle over language and culture merged with a broader resistance to capitalist modernization.
Form:
books
books
Publication:
February 2007, Cambridge (MA)
February 2007, Cambridge (MA)
