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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and(...)
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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and(...)
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Incoporating architects: How American architecture became a practice of empire
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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and financial mechanisms on which those systems came to depend. However, despite the extraordinary power of these architects, their histories remain shrouded in myth and concealed—by design. This forensic analysis traces a history of architects at one such firm, AECOM, as they assembled their own multinational corporation and embedded themselves in the operations of American empire after World War II, shielding themselves from the instabilities of a postwar political economy. ''Incorporating Architects'' reveals how architects, through their businesses more than their drawings or buildings, modulated the political economy, gripped the reins of their profession, and produced the global injustices that define our neoliberal present.
Incoporating architects: How American architecture became a practice of empire
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By the end of the twentieth century, US architecture and engineering firms held more capital than entire countries, employed more people than were housed in most cities, and rented offices in more nations than comprised the UN. Within them, architects were designing not single buildings but urban systems, including the multinational infrastructures, legal codes, and financial mechanisms on which those systems came to depend. However, despite the extraordinary power of these architects, their histories remain shrouded in myth and concealed—by design. This forensic analysis traces a history of architects at one such firm, AECOM, as they assembled their own multinational corporation and embedded themselves in the operations of American empire after World War II, shielding themselves from the instabilities of a postwar political economy. ''Incorporating Architects'' reveals how architects, through their businesses more than their drawings or buildings, modulated the political economy, gripped the reins of their profession, and produced the global injustices that define our neoliberal present.
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books
books
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June 2025
June 2025
Subject:
Architectural Theory
Architectural Theory
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books
books
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''Constructive Clarity: Max Bill and His Time, 1940–1952'', the second installment of art historian Angela Thomas’s multivolume biography, continues her meticulous exploration of the life and work of the influential artist. Max Bill was undoubtedly one of the most versatile artists of the twentieth century––a designer, painter, sculptor, architect, graphic designer,(...)
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''Constructive Clarity: Max Bill and His Time, 1940–1952'', the second installment of art historian Angela Thomas’s multivolume biography, continues her meticulous exploration of the life and work of the influential artist. Max Bill was undoubtedly one of the most versatile artists of the twentieth century––a designer, painter, sculptor, architect, graphic designer,(...)
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Constructive clarity: Max Bill and his time
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''Constructive Clarity: Max Bill and His Time, 1940–1952'', the second installment of art historian Angela Thomas’s multivolume biography, continues her meticulous exploration of the life and work of the influential artist. Max Bill was undoubtedly one of the most versatile artists of the twentieth century––a designer, painter, sculptor, architect, graphic designer, typographer, writer, curator, teacher, and politician––who influenced generations of artists. Picking up where the first volume left off,Thomas turns her attention to Bill’s life during World War II, exploring the ground-breaking artistic and intellectual networks to which Bill belonged: from his time at the Bauhaus in Dessau to his connections with the Parisian avant-garde and his lifelong friendship with Georges Vantongerloo. His importance as a writer, publisher, and exhibition organizer comes to the fore in this volume, as does his crucial influence on the development of Concrete art in South America and his active interest in urban planning and postwar reconstruction. contexts in which he worked.
Constructive clarity: Max Bill and his time
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''Constructive Clarity: Max Bill and His Time, 1940–1952'', the second installment of art historian Angela Thomas’s multivolume biography, continues her meticulous exploration of the life and work of the influential artist. Max Bill was undoubtedly one of the most versatile artists of the twentieth century––a designer, painter, sculptor, architect, graphic designer, typographer, writer, curator, teacher, and politician––who influenced generations of artists. Picking up where the first volume left off,Thomas turns her attention to Bill’s life during World War II, exploring the ground-breaking artistic and intellectual networks to which Bill belonged: from his time at the Bauhaus in Dessau to his connections with the Parisian avant-garde and his lifelong friendship with Georges Vantongerloo. His importance as a writer, publisher, and exhibition organizer comes to the fore in this volume, as does his crucial influence on the development of Concrete art in South America and his active interest in urban planning and postwar reconstruction. contexts in which he worked.
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books
books
Publication:
October 2024
October 2024
Subject:
Graphic Designers, Monographs
Graphic Designers, Monographs
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books
books
Title:
Disordering the establishment: participatory art and institutional critique in France 1958-1981
Disordering the establishment: participatory art and institutional critique in France 1958-1981
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In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In ''Disordering the establishment'' Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with(...)
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In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In ''Disordering the establishment'' Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with(...)
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Disordering the establishment: participatory art and institutional critique in France 1958-1981
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In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In ''Disordering the establishment'' Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals' modeling of society. Artists and collectives such as Daniel Buren, André Cadere, the Groupe de Recherche d’Art Visuel, and the Collectif d’Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment.
Disordering the establishment: participatory art and institutional critique in France 1958-1981
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Summary:
In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In ''Disordering the establishment'' Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals' modeling of society. Artists and collectives such as Daniel Buren, André Cadere, the Groupe de Recherche d’Art Visuel, and the Collectif d’Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment.
Form:
books
books
Publication:
June 2020
June 2020
Subject:
Art Theory
Art Theory
Form:
books
books
Title:
Hannah Höch: Interior garden
Hannah Höch: Interior garden
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At the onset of World War II, the visionary Dada artist Hannah Höch (1889–1978) retreated to a secluded house on the outskirts of Berlin, fleeing persecution for her radical collage work and her unflagging opposition to fascism. In the decades that followed, the surrounding garden became her artistic muse, but it was also a means of survival: its fruits and vegetables(...)
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At the onset of World War II, the visionary Dada artist Hannah Höch (1889–1978) retreated to a secluded house on the outskirts of Berlin, fleeing persecution for her radical collage work and her unflagging opposition to fascism. In the decades that followed, the surrounding garden became her artistic muse, but it was also a means of survival: its fruits and vegetables(...)
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Hannah Höch: Interior garden
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At the onset of World War II, the visionary Dada artist Hannah Höch (1889–1978) retreated to a secluded house on the outskirts of Berlin, fleeing persecution for her radical collage work and her unflagging opposition to fascism. In the decades that followed, the surrounding garden became her artistic muse, but it was also a means of survival: its fruits and vegetables were a vital source of sustenance during wartime, and its grounds served as the hiding place for her priceless collection of Dada artworks. Eighty years later, this richly illustrated and deeply researched book reimagines Höch’s garden from an artist’s perspective. It brings together Höch’s botanical collages and garden photographs with deep archival cuts exploring her queer history with Til Brugman; new art by the artists Scott Roben and Johanna Tiedtke, based on visits to Höch’s garden; and an essay by the writer Alhena Katsof. Together, these elements interweave past and present, private and public, personal and political, offering new views into Höch’s lush refuge.
Hannah Höch: Interior garden
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Summary:
At the onset of World War II, the visionary Dada artist Hannah Höch (1889–1978) retreated to a secluded house on the outskirts of Berlin, fleeing persecution for her radical collage work and her unflagging opposition to fascism. In the decades that followed, the surrounding garden became her artistic muse, but it was also a means of survival: its fruits and vegetables were a vital source of sustenance during wartime, and its grounds served as the hiding place for her priceless collection of Dada artworks. Eighty years later, this richly illustrated and deeply researched book reimagines Höch’s garden from an artist’s perspective. It brings together Höch’s botanical collages and garden photographs with deep archival cuts exploring her queer history with Til Brugman; new art by the artists Scott Roben and Johanna Tiedtke, based on visits to Höch’s garden; and an essay by the writer Alhena Katsof. Together, these elements interweave past and present, private and public, personal and political, offering new views into Höch’s lush refuge.
Form:
books
books
Publication:
January 2022
January 2022
Subject:
Gardens
Gardens
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books
books
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$52.50
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Architect, planner, and arts advocate Alfred Preis (1911–1994) dedicated his many creative talents to his beloved, adopted home, Hawai‘i. Born to a Jewish family, raised, and educated in Vienna, Preis became an exile after escaping from Nazi-occupied Austria in 1939 and briefly being interned as an "enemy alien" when the United States entered World War II. Preis emerged(...)
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Architect, planner, and arts advocate Alfred Preis (1911–1994) dedicated his many creative talents to his beloved, adopted home, Hawai‘i. Born to a Jewish family, raised, and educated in Vienna, Preis became an exile after escaping from Nazi-occupied Austria in 1939 and briefly being interned as an "enemy alien" when the United States entered World War II. Preis emerged(...)
Title:
Alfred Preis Displaced: The topical modernism of the Austrian emigrant and architect
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Architect, planner, and arts advocate Alfred Preis (1911–1994) dedicated his many creative talents to his beloved, adopted home, Hawai‘i. Born to a Jewish family, raised, and educated in Vienna, Preis became an exile after escaping from Nazi-occupied Austria in 1939 and briefly being interned as an "enemy alien" when the United States entered World War II. Preis emerged as one of Hawai‘i’s leading modern architects in the 1950s and 1960s. His new, regionalist vision for architecture and planning were specific to the Hawaiian context, its people, its tropical climate, and its stunning landscape. Preis’s crowning achievement was his design for the famed USS Arizona Memorial at Pearl Harbor in 1962. This is the first publication to examine Alfred Preis’s body of work in architecture, which spans from 1939 to 1963, including not only several acclaimed public projects but also illustrating the transition from a European modern language into a regional modernism, unifying both cultures in distinct and pioneering ways.
Alfred Preis Displaced: The topical modernism of the Austrian emigrant and architect
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Architect, planner, and arts advocate Alfred Preis (1911–1994) dedicated his many creative talents to his beloved, adopted home, Hawai‘i. Born to a Jewish family, raised, and educated in Vienna, Preis became an exile after escaping from Nazi-occupied Austria in 1939 and briefly being interned as an "enemy alien" when the United States entered World War II. Preis emerged as one of Hawai‘i’s leading modern architects in the 1950s and 1960s. His new, regionalist vision for architecture and planning were specific to the Hawaiian context, its people, its tropical climate, and its stunning landscape. Preis’s crowning achievement was his design for the famed USS Arizona Memorial at Pearl Harbor in 1962. This is the first publication to examine Alfred Preis’s body of work in architecture, which spans from 1939 to 1963, including not only several acclaimed public projects but also illustrating the transition from a European modern language into a regional modernism, unifying both cultures in distinct and pioneering ways.
Form:
books
books
Publication:
September 2022
September 2022
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$16.95
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an(...)
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an(...)
Publication:
January 2009
January 2009
Title:
John Gutmann: the photographer at work
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider—a Jew in Germany, a naturalized citizen in the United States—informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II. This book acknowledges Gutmann’s place in the history of photography. Drawing on his archive of photographs and papers at the Center for Creative Photography, it presents both unfamiliar works and little-known contexts for his imagery, linking his photography to his passionate interest in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy.
John Gutmann: the photographer at work
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider—a Jew in Germany, a naturalized citizen in the United States—informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II. This book acknowledges Gutmann’s place in the history of photography. Drawing on his archive of photographs and papers at the Center for Creative Photography, it presents both unfamiliar works and little-known contexts for his imagery, linking his photography to his passionate interest in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy.
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books
books
Publication:
January 2009
January 2009
Form:
books
books
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$30.00
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Summary:
Nye looks at America's development of its electrical grid, which made large-scale power failures possible; military blackouts before and during World War II ("The silence was the big surprise of the blackout, the darkness discounted," wrote Harold Ross in The New Yorker in 1942); New York City's contrasting 1965 and 1977 blackout experiences (the first characterized by(...)
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Nye looks at America's development of its electrical grid, which made large-scale power failures possible; military blackouts before and during World War II ("The silence was the big surprise of the blackout, the darkness discounted," wrote Harold Ross in The New Yorker in 1942); New York City's contrasting 1965 and 1977 blackout experiences (the first characterized by(...)
Title:
When the lights went out, a history of blackouts in America
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Nye looks at America's development of its electrical grid, which made large-scale power failures possible; military blackouts before and during World War II ("The silence was the big surprise of the blackout, the darkness discounted," wrote Harold Ross in The New Yorker in 1942); New York City's contrasting 1965 and 1977 blackout experiences (the first characterized by cooperation, the second by looting and disorder); the growth in consumer demand that led to rolling blackouts made worse by energy traders' market manipulations; blackouts caused by terrorist attacks and sabotage; and, finally, the "greenout" (exemplified by the new tradition of "Earth Hour"), a voluntary reduction organized by environmental organizations. Blackouts, writes Nye, are breaks in the flow of social time that reveal much about the trajectory of American history. Each time one occurs, Americans confront their essential condition—not as isolated individuals, but as a community that increasingly binds itself together with electrical wires and signals.
When the lights went out, a history of blackouts in America
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Summary:
Nye looks at America's development of its electrical grid, which made large-scale power failures possible; military blackouts before and during World War II ("The silence was the big surprise of the blackout, the darkness discounted," wrote Harold Ross in The New Yorker in 1942); New York City's contrasting 1965 and 1977 blackout experiences (the first characterized by cooperation, the second by looting and disorder); the growth in consumer demand that led to rolling blackouts made worse by energy traders' market manipulations; blackouts caused by terrorist attacks and sabotage; and, finally, the "greenout" (exemplified by the new tradition of "Earth Hour"), a voluntary reduction organized by environmental organizations. Blackouts, writes Nye, are breaks in the flow of social time that reveal much about the trajectory of American history. Each time one occurs, Americans confront their essential condition—not as isolated individuals, but as a community that increasingly binds itself together with electrical wires and signals.
Form:
books
books
Publication:
March 2010
March 2010
Subject:
Urban Theory
Urban Theory
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books
books
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$65.00
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After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, “Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture.” Many photographers(...)
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After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, “Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture.” Many photographers(...)
Title:
The open road : photography and the American road trip
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After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, “Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture.” Many photographers purposefully embarked on journeys across the U.S. in order to create work. Hundreds of them have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato, Nico Krebs, Alec Soth and Ryan McGinley. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany’s introduction to the genre and 18 chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts.
The open road : photography and the American road trip
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$65.00
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Summary:
After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, “Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture.” Many photographers purposefully embarked on journeys across the U.S. in order to create work. Hundreds of them have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato, Nico Krebs, Alec Soth and Ryan McGinley. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany’s introduction to the genre and 18 chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts.
Form:
books
books
Publication:
August 2014
August 2014
Subject:
Photography by Region
Photography by Region
Form:
books
books
Price:
$44.00
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Summary:
What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958(...)
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958(...)
Subject:
Architecture Monographs
Architecture Monographs
Publication:
November 2001, New York
November 2001, New York
Title:
Frank Lloyd Wright + Lewis Mumford : thirty years of correspondence
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958 covered a wide range of topics, including Wright's position in the history of American architecture and contemporary practice, their friends and rivals, the invention and spread of the International Style, and political events in Europe and the US. A fallout over isolationist politics in the early 1940s led to a 10-year gap in their exchange, and when it resumed the two were on an entirely different footing: Wright, the elder dean of American architecture at the height of his creative powers, and Mumford, an established critic in late middle age deeply committed to rebuilding a humanist outlook in the aftermath of World War II. Frank Lloyd Wright & Lewis Mumford offers an intimate look inside the minds and hearts of these two cultural giants, deepening our understanding of the men and the society they helped shape.
Frank Lloyd Wright + Lewis Mumford : thirty years of correspondence
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What began as a simple letter--a mid-career architect's comments to a young writer--turned into a 32-year correspondence, by turns amusing, inflamed, and conciliatory. Frank Lloyd Wright and Lewis Mumford, two pivotal figures in 20th-century American architecture and urbanism, were both passionate writers, keenly aware of world events. Their 150 letters from 1926-1958 covered a wide range of topics, including Wright's position in the history of American architecture and contemporary practice, their friends and rivals, the invention and spread of the International Style, and political events in Europe and the US. A fallout over isolationist politics in the early 1940s led to a 10-year gap in their exchange, and when it resumed the two were on an entirely different footing: Wright, the elder dean of American architecture at the height of his creative powers, and Mumford, an established critic in late middle age deeply committed to rebuilding a humanist outlook in the aftermath of World War II. Frank Lloyd Wright & Lewis Mumford offers an intimate look inside the minds and hearts of these two cultural giants, deepening our understanding of the men and the society they helped shape.
Form:
books
books
Publication:
November 2001, New York
November 2001, New York
Subject:
Architecture Monographs
Architecture Monographs
Form:
books
books
Title:
Volcano: nature and culture
Volcano: nature and culture
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For years, tourists have trekked across cracked rock at Hawaii’s Kilauea volcano to witness the inspiring sight of creeping lava and its devastating effects on the landscape. In 2010, Eyjafjallajökull erupted in Iceland, stranding travelers as a cloud of ash covered western and northern Europe, causing the largest disruption of air travel since World War II. And just a(...)
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Summary:
For years, tourists have trekked across cracked rock at Hawaii’s Kilauea volcano to witness the inspiring sight of creeping lava and its devastating effects on the landscape. In 2010, Eyjafjallajökull erupted in Iceland, stranding travelers as a cloud of ash covered western and northern Europe, causing the largest disruption of air travel since World War II. And just a(...)
Title:
Volcano: nature and culture
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For years, tourists have trekked across cracked rock at Hawaii’s Kilauea volcano to witness the inspiring sight of creeping lava and its devastating effects on the landscape. In 2010, Eyjafjallajökull erupted in Iceland, stranding travelers as a cloud of ash covered western and northern Europe, causing the largest disruption of air travel since World War II. And just a few months later, Mount Merapi blew in Indonesia, killing over 350 people and displacing over 350,000 others, awakening people once more to the dangerous potential of these sleeping giants. Though today largely dormant, volcanoes continue to erupt across the world, reminding us of their sheer physical power. In Volcano, James Hamilton explores the cultural history generated by the violence and terrifying beauty of volcanoes. He describes the reverberations of early eruptions of Vesuvius and Etna in Greek and Roman myth. He also examines the depiction of volcanoes in art—from the earliest known wall painting of an erupting volcano in 6200 BCE to the distinctive colors of Andy Warhol and Michael Sandle’s exploding mountains. Surveying a number of twenty-first-century works, Hamilton shows that volcanoes continue to influence the artistic imagination.
Volcano: nature and culture
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$35.50
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Summary:
For years, tourists have trekked across cracked rock at Hawaii’s Kilauea volcano to witness the inspiring sight of creeping lava and its devastating effects on the landscape. In 2010, Eyjafjallajökull erupted in Iceland, stranding travelers as a cloud of ash covered western and northern Europe, causing the largest disruption of air travel since World War II. And just a few months later, Mount Merapi blew in Indonesia, killing over 350 people and displacing over 350,000 others, awakening people once more to the dangerous potential of these sleeping giants. Though today largely dormant, volcanoes continue to erupt across the world, reminding us of their sheer physical power. In Volcano, James Hamilton explores the cultural history generated by the violence and terrifying beauty of volcanoes. He describes the reverberations of early eruptions of Vesuvius and Etna in Greek and Roman myth. He also examines the depiction of volcanoes in art—from the earliest known wall painting of an erupting volcano in 6200 BCE to the distinctive colors of Andy Warhol and Michael Sandle’s exploding mountains. Surveying a number of twenty-first-century works, Hamilton shows that volcanoes continue to influence the artistic imagination.
Form:
books
books
Publication:
June 2012
June 2012
Subject:
Landscape Theory
Landscape Theory
