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A decimated Shiite shrine in Iraq. The smoking World Trade Center site. The scorched cityscape of 1945 Dresden. Among the most indelible scars left by war is the destroyed landscapes, and such architectural devastation damages far more than mere buildings. Robert Bevan argues here that shattered buildings are not merely “collateral damage,” but rather calculated acts of(...)
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A decimated Shiite shrine in Iraq. The smoking World Trade Center site. The scorched cityscape of 1945 Dresden. Among the most indelible scars left by war is the destroyed landscapes, and such architectural devastation damages far more than mere buildings. Robert Bevan argues here that shattered buildings are not merely “collateral damage,” but rather calculated acts of(...)
Publication:
February 2007, London
February 2007, London
Title:
The destruction of memory : Architecture at war
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A decimated Shiite shrine in Iraq. The smoking World Trade Center site. The scorched cityscape of 1945 Dresden. Among the most indelible scars left by war is the destroyed landscapes, and such architectural devastation damages far more than mere buildings. Robert Bevan argues here that shattered buildings are not merely “collateral damage,” but rather calculated acts of cultural annihilation. From Hitler’s Kristallnacht to the toppling of Saddam Hussein’s statue in the Iraq War, Bevan deftly sifts through military campaigns and their tactics throughout history, and analyzes the cultural impact and catastrophic consequences of architectural destruction. For Bevan, these actions are nothing less than cultural genocide. Ultimately, Bevan forcefully argues for the prosecution of nations that purposely flout established international treaties against destroyed architecture. A passionate and thought-provoking cri de coeur, The Destruction of Memory raises questions about the costs of war that run deeper than blood and money.
The destruction of memory : Architecture at war
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$24.00
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Summary:
A decimated Shiite shrine in Iraq. The smoking World Trade Center site. The scorched cityscape of 1945 Dresden. Among the most indelible scars left by war is the destroyed landscapes, and such architectural devastation damages far more than mere buildings. Robert Bevan argues here that shattered buildings are not merely “collateral damage,” but rather calculated acts of cultural annihilation. From Hitler’s Kristallnacht to the toppling of Saddam Hussein’s statue in the Iraq War, Bevan deftly sifts through military campaigns and their tactics throughout history, and analyzes the cultural impact and catastrophic consequences of architectural destruction. For Bevan, these actions are nothing less than cultural genocide. Ultimately, Bevan forcefully argues for the prosecution of nations that purposely flout established international treaties against destroyed architecture. A passionate and thought-provoking cri de coeur, The Destruction of Memory raises questions about the costs of war that run deeper than blood and money.
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books
books
Publication:
February 2007, London
February 2007, London
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books
books
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$63.00
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This volume documents Gerhard Richter's 65-foot-tall, abstract, stained-glass window for Germany's historic Cologne Cathedral, the original of which was destroyed by bombs in World War II, and thereafter replaced with clear glass. Composed of more than 11,000 four-inch squares, or "pixels," in 72 colors, the window is based on Richter's 1974 painting, "4096 Colors," a(...)
$63.00
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Summary:
This volume documents Gerhard Richter's 65-foot-tall, abstract, stained-glass window for Germany's historic Cologne Cathedral, the original of which was destroyed by bombs in World War II, and thereafter replaced with clear glass. Composed of more than 11,000 four-inch squares, or "pixels," in 72 colors, the window is based on Richter's 1974 painting, "4096 Colors," a(...)
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Gerhard Richter - Zufall, das Kölner Domfenster und 4900 farben the cologne cathedral window, and 4900 colours
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This volume documents Gerhard Richter's 65-foot-tall, abstract, stained-glass window for Germany's historic Cologne Cathedral, the original of which was destroyed by bombs in World War II, and thereafter replaced with clear glass. Composed of more than 11,000 four-inch squares, or "pixels," in 72 colors, the window is based on Richter's 1974 painting, "4096 Colors," a grid of monochromatic squares 64 tall and 64 wide (for a total of 4096 squares) which was organized and designed according to a mathematical formula that systematically mixed red, yellow, blue and gray. Photographs of the work are accompanied by three essays which integrate this important work into the context of Richter's oeuvre, and shed light on the principle of randomness on which it is based. Gerhard Richter was born in Dresden and escaped to West Germany in 1961. He has lived and worked in Cologne, where he was made an honorary citizen last year, since the early 1980s.
Gerhard Richter - Zufall, das Kölner Domfenster und 4900 farben the cologne cathedral window, and 4900 colours
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$63.00
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Summary:
This volume documents Gerhard Richter's 65-foot-tall, abstract, stained-glass window for Germany's historic Cologne Cathedral, the original of which was destroyed by bombs in World War II, and thereafter replaced with clear glass. Composed of more than 11,000 four-inch squares, or "pixels," in 72 colors, the window is based on Richter's 1974 painting, "4096 Colors," a grid of monochromatic squares 64 tall and 64 wide (for a total of 4096 squares) which was organized and designed according to a mathematical formula that systematically mixed red, yellow, blue and gray. Photographs of the work are accompanied by three essays which integrate this important work into the context of Richter's oeuvre, and shed light on the principle of randomness on which it is based. Gerhard Richter was born in Dresden and escaped to West Germany in 1961. He has lived and worked in Cologne, where he was made an honorary citizen last year, since the early 1980s.
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books
books
Publication:
February 2008, Köln
February 2008, Köln
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
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$75.00
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Three volume exhibition catalogue of exhibition titled 'Supermarket of the dead' at the Dresden State Art Museum in 2015. One of the most ancient forms of Chinese spirituality proves to be a living tradition, still widely practised everywhere in Chinese culture. Paper replicas of money and goods are ritually burned as offerings to win the favour of ancestors, gods and(...)
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Summary:
Three volume exhibition catalogue of exhibition titled 'Supermarket of the dead' at the Dresden State Art Museum in 2015. One of the most ancient forms of Chinese spirituality proves to be a living tradition, still widely practised everywhere in Chinese culture. Paper replicas of money and goods are ritually burned as offerings to win the favour of ancestors, gods and(...)
Publication:
July 2015
July 2015
Title:
Supermarket of the dead: burnt offerings in China an dthe cultu of globalised consumption
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Three volume exhibition catalogue of exhibition titled 'Supermarket of the dead' at the Dresden State Art Museum in 2015. One of the most ancient forms of Chinese spirituality proves to be a living tradition, still widely practised everywhere in Chinese culture. Paper replicas of money and goods are ritually burned as offerings to win the favour of ancestors, gods and spirits. These paper models have recently undergone a kind of transformation, in which imi-tations of traditional objects have been superseded by replicas of consumer goods found in western shopping habits. An alter-native world made of paper, encompassing all today’s globalised brand consumption fetishes, Gucci bags, Prada shoes, mobile phones, Apple computers and even Heineken beer cans and life-size cars, is committed to the flames as a tribute to the ancestors. This three part catalog offers a glimpse of the exhibition and includes a volume of essays to accompany the works.
Supermarket of the dead: burnt offerings in China an dthe cultu of globalised consumption
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Price:
$75.00
(available to order)
Summary:
Three volume exhibition catalogue of exhibition titled 'Supermarket of the dead' at the Dresden State Art Museum in 2015. One of the most ancient forms of Chinese spirituality proves to be a living tradition, still widely practised everywhere in Chinese culture. Paper replicas of money and goods are ritually burned as offerings to win the favour of ancestors, gods and spirits. These paper models have recently undergone a kind of transformation, in which imi-tations of traditional objects have been superseded by replicas of consumer goods found in western shopping habits. An alter-native world made of paper, encompassing all today’s globalised brand consumption fetishes, Gucci bags, Prada shoes, mobile phones, Apple computers and even Heineken beer cans and life-size cars, is committed to the flames as a tribute to the ancestors. This three part catalog offers a glimpse of the exhibition and includes a volume of essays to accompany the works.
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books
books
Publication:
July 2015
July 2015
Form:
books
books
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$72.50
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Summary:
This publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram—an image made by placing objects directly on (or in close proximity to) a light-sensitive(...)
$72.50
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Summary:
This publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram—an image made by placing objects directly on (or in close proximity to) a light-sensitive(...)
Title:
White shadows: Anneliese Hager and the camera-less photograph
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This publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram—an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and exposing the assembled material to light. In its final form, a photogram is a one-of-a-kind work that reverses light and dark: the longer the paper is covered, and hence unexposed, the brighter the covered parts will be, and vice versa. Hager called these bright areas "white shadows." Hager’s photograms offer a more inclusive history of the medium, synthesizing the technique’s 20th-century avant-garde trajectory (best known in the work of László Moholy-Nagy and Man Ray) and its 19th-century prehistories in the realm of science and in practices such as the making of silhouettes, collage and textile arts—pursuits often coded feminine. In 1945, all Hager’s existing artwork was destroyed in the bombing of Dresden during World War II. This book offers an unprecedented reconstruction of her development and postwar creation of otherworldly, Surrealist visions in photograms and poems, a selection of which appear here in English for the first time. For Hager, the photogram was significant for its provocative tonal inversions and surprising chance effects, but also for what emerges from the dark.
White shadows: Anneliese Hager and the camera-less photograph
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Price:
$72.50
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Summary:
This publication introduces the untold story of German artist and poet Anneliese Hager. Active from the 1930s to the 1960s, Hager began her photographic experimentation in Germany during the Nazi censure of modern art. Her preferred medium was the cameraless photograph, or photogram—an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and exposing the assembled material to light. In its final form, a photogram is a one-of-a-kind work that reverses light and dark: the longer the paper is covered, and hence unexposed, the brighter the covered parts will be, and vice versa. Hager called these bright areas "white shadows." Hager’s photograms offer a more inclusive history of the medium, synthesizing the technique’s 20th-century avant-garde trajectory (best known in the work of László Moholy-Nagy and Man Ray) and its 19th-century prehistories in the realm of science and in practices such as the making of silhouettes, collage and textile arts—pursuits often coded feminine. In 1945, all Hager’s existing artwork was destroyed in the bombing of Dresden during World War II. This book offers an unprecedented reconstruction of her development and postwar creation of otherworldly, Surrealist visions in photograms and poems, a selection of which appear here in English for the first time. For Hager, the photogram was significant for its provocative tonal inversions and surprising chance effects, but also for what emerges from the dark.
Form:
books
books
Publication:
November 2023
November 2023
Subject:
Photography monographs
Photography monographs
