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Whether creating enormous exhibition spaces or designing living quarters for collectors and homes and studio facilities for artists, the acclaimed architect Max Gordon (1931-1990) shaped the physical settings of art in the world's major metropolises during his influential career. Following several decades of work with leading architectural firms in New York and London, in(...)
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Whether creating enormous exhibition spaces or designing living quarters for collectors and homes and studio facilities for artists, the acclaimed architect Max Gordon (1931-1990) shaped the physical settings of art in the world's major metropolises during his influential career. Following several decades of work with leading architectural firms in New York and London, in(...)
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Max Gordon: Architect for art
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Whether creating enormous exhibition spaces or designing living quarters for collectors and homes and studio facilities for artists, the acclaimed architect Max Gordon (1931-1990) shaped the physical settings of art in the world's major metropolises during his influential career. Following several decades of work with leading architectural firms in New York and London, in the early 1980s Gordon designed the first Saatchi Gallery in London, and went on to become celebrated and sought after as the art world's architect of choice, designing spaces for artists Elizabeth Murray, Jennifer Bartlett, Richard Serra and Joel Shapiro, and gallerists Paula Cooper, Brooke Alexander, Maeght-Lelong and Lorence-Monk in New York and Anthony d'Offay and Annely Juda in London. This monograph offers a detailed overview of Gordon's projects for the art world, from the 100,000-square-foot exhibition space he designed for the Museo Nacional Centro de Arte Reina Sofia in Madrid to the SoHo home he remodeled for Richard Serra, demonstrating throughout his elegant use of light, space and minimal decoration, and displaying his gift for always highlighting the art.
Max Gordon: Architect for art
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Whether creating enormous exhibition spaces or designing living quarters for collectors and homes and studio facilities for artists, the acclaimed architect Max Gordon (1931-1990) shaped the physical settings of art in the world's major metropolises during his influential career. Following several decades of work with leading architectural firms in New York and London, in the early 1980s Gordon designed the first Saatchi Gallery in London, and went on to become celebrated and sought after as the art world's architect of choice, designing spaces for artists Elizabeth Murray, Jennifer Bartlett, Richard Serra and Joel Shapiro, and gallerists Paula Cooper, Brooke Alexander, Maeght-Lelong and Lorence-Monk in New York and Anthony d'Offay and Annely Juda in London. This monograph offers a detailed overview of Gordon's projects for the art world, from the 100,000-square-foot exhibition space he designed for the Museo Nacional Centro de Arte Reina Sofia in Madrid to the SoHo home he remodeled for Richard Serra, demonstrating throughout his elegant use of light, space and minimal decoration, and displaying his gift for always highlighting the art.
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books
books
Publication:
April 2011
April 2011
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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$28.00
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's(...)
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's(...)
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Diller Scofidio & Renfro: Institute of Contemporary Art (ICA) Boston
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience,” stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community. ''Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time,” Medvedow has said.
Diller Scofidio & Renfro: Institute of Contemporary Art (ICA) Boston
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The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home. “The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience,” stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community. ''Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time,” Medvedow has said.
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books
books
Publication:
September 2011
September 2011
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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Dallegret’s own life and work denies anything so predictable as a neat synopsis, but in essence his work, beginning in Paris in the late 1950s and early 60s, and later taking in New York and Montréal, absorbs everything from intricate line drawings for a series of astrological vehicles and designs for a number of machines (from those that assist in cooking a meal to(...)
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Dallegret’s own life and work denies anything so predictable as a neat synopsis, but in essence his work, beginning in Paris in the late 1950s and early 60s, and later taking in New York and Montréal, absorbs everything from intricate line drawings for a series of astrological vehicles and designs for a number of machines (from those that assist in cooking a meal to(...)
Publication:
November 2011
November 2011
Title:
GOD & CO François Dallegret Beyond the Bubble
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Dallegret’s own life and work denies anything so predictable as a neat synopsis, but in essence his work, beginning in Paris in the late 1950s and early 60s, and later taking in New York and Montréal, absorbs everything from intricate line drawings for a series of astrological vehicles and designs for a number of machines (from those that assist in cooking a meal to others that generate literature) to the ‘A Home Is Not a House’ collaboration with the critic Reyner Banham; a drugstore/gallery in Montréal; proposals for a new Montréal Palais Metro; designs for chairs, more cars and yet more machines; a film collaborative set up to shoot a western; contributions to the Montréal 67 Expo; engraved bars of soap; subversive credit cards; ‘ironique’ villas and light installations. The book will illustrate a great many of these works and contains essays on Dallegret’s life and legacy by the historians Alessandra Ponte and Laurent Stalder. GOD & CO is published to accompany an exhibition at the Architectural Association, London.
GOD & CO François Dallegret Beyond the Bubble
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Dallegret’s own life and work denies anything so predictable as a neat synopsis, but in essence his work, beginning in Paris in the late 1950s and early 60s, and later taking in New York and Montréal, absorbs everything from intricate line drawings for a series of astrological vehicles and designs for a number of machines (from those that assist in cooking a meal to others that generate literature) to the ‘A Home Is Not a House’ collaboration with the critic Reyner Banham; a drugstore/gallery in Montréal; proposals for a new Montréal Palais Metro; designs for chairs, more cars and yet more machines; a film collaborative set up to shoot a western; contributions to the Montréal 67 Expo; engraved bars of soap; subversive credit cards; ‘ironique’ villas and light installations. The book will illustrate a great many of these works and contains essays on Dallegret’s life and legacy by the historians Alessandra Ponte and Laurent Stalder. GOD & CO is published to accompany an exhibition at the Architectural Association, London.
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books
books
Publication:
November 2011
November 2011
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books
books
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$54.95
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Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound(...)
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Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound(...)
Title:
Nazi soundscapes : sound, technology and urban space in Germany, 1933-1945
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Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound events and technological devices in their specific contexts of production and reception. Nazi Soundscapes identifies strategies for controlling space and reworking identity patterns, but also the ongoing difficulties in manipulating mediated sounds and the spaces of listening reception, whether in the home, workplace, the cinema, public rituals or with wartime siren systems. The study revises visualist notions of social control, and reveals the disciplinary functions of listening (as eavesdropping) as well as the sonic dimensions to exclusion and violence during Nazism. An essential title for everyone interested in the links between German political culture, audiovisual media and urban history,Nazi Soundscapes provides a fascinating analysis of the cultural significance of sound between the 1920s and early 1940s.
Nazi soundscapes : sound, technology and urban space in Germany, 1933-1945
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Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound events and technological devices in their specific contexts of production and reception. Nazi Soundscapes identifies strategies for controlling space and reworking identity patterns, but also the ongoing difficulties in manipulating mediated sounds and the spaces of listening reception, whether in the home, workplace, the cinema, public rituals or with wartime siren systems. The study revises visualist notions of social control, and reveals the disciplinary functions of listening (as eavesdropping) as well as the sonic dimensions to exclusion and violence during Nazism. An essential title for everyone interested in the links between German political culture, audiovisual media and urban history,Nazi Soundscapes provides a fascinating analysis of the cultural significance of sound between the 1920s and early 1940s.
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books
books
Publication:
September 2012
September 2012
Subject:
Architectural Theory
Architectural Theory
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books
books
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$45.00
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Summary:
Lafayette Park, a middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Throughout the 1990s and 2000s, it remained one of Detroit's most racially integrated and economically stable neighborhoods, although it was surrounded by evidence of a city in financial distress. Through(...)
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Lafayette Park, a middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Throughout the 1990s and 2000s, it remained one of Detroit's most racially integrated and economically stable neighborhoods, although it was surrounded by evidence of a city in financial distress. Through(...)
Subject:
Architecture Monographs
Architecture Monographs
Publication:
February 2019
February 2019
Title:
Thanks for the view, Mr. Mies. Lafeyette Park, Detroit. Revised edition
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Lafayette Park, a middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Throughout the 1990s and 2000s, it remained one of Detroit's most racially integrated and economically stable neighborhoods, although it was surrounded by evidence of a city in financial distress. Through interviews with and essays by residents, reproductions of archival material, new photographs by Karin Jobst, Vasco Roma and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debanné, 'Thanks for the View, Mr. Mies' examines the way that Lafayette Park residents confront and interact with this unique modernist environment. This book is a reaction against the way that iconic modernist architecture is often represented. Whereas other writers may focus on the design intentions of the architect, authors Aubert, Cavar and Chandani seek to show the organic and idiosyncratic ways in which the people who live in Lafayette Park actually use the architecture and how this experience, in turn, affects their everyday lives.
Thanks for the view, Mr. Mies. Lafeyette Park, Detroit. Revised edition
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Lafayette Park, a middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Throughout the 1990s and 2000s, it remained one of Detroit's most racially integrated and economically stable neighborhoods, although it was surrounded by evidence of a city in financial distress. Through interviews with and essays by residents, reproductions of archival material, new photographs by Karin Jobst, Vasco Roma and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debanné, 'Thanks for the View, Mr. Mies' examines the way that Lafayette Park residents confront and interact with this unique modernist environment. This book is a reaction against the way that iconic modernist architecture is often represented. Whereas other writers may focus on the design intentions of the architect, authors Aubert, Cavar and Chandani seek to show the organic and idiosyncratic ways in which the people who live in Lafayette Park actually use the architecture and how this experience, in turn, affects their everyday lives.
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books
books
Publication:
February 2019
February 2019
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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Arthur Elrod was the most successful interior designer working in the Palm Springs area from 1954 to 1974. His forward-thinking midcentury interior design appeared in primary homes, second houses, third houses, spec houses, country clubs, and experimental houses- in the desert and across the US. He was charming, handsome, and worked tirelessly for his A-list clientele,(...)
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Arthur Elrod was the most successful interior designer working in the Palm Springs area from 1954 to 1974. His forward-thinking midcentury interior design appeared in primary homes, second houses, third houses, spec houses, country clubs, and experimental houses- in the desert and across the US. He was charming, handsome, and worked tirelessly for his A-list clientele,(...)
Title:
Arthur Elrod: Desert modern design
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Arthur Elrod was the most successful interior designer working in the Palm Springs area from 1954 to 1974. His forward-thinking midcentury interior design appeared in primary homes, second houses, third houses, spec houses, country clubs, and experimental houses- in the desert and across the US. He was charming, handsome, and worked tirelessly for his A-list clientele, such as Lucille Ball and Walt Disney. Perhaps his most famous work was done in his own home, known as the Elrod House in Palm Springs, built by architect John Lautner in 1968. His rise paralleled the growing modernist movement in desert architecture, and he worked alongside the leading California architects of the day including E. Stewart Williams, William F. Cody, Paul R. Williams, Edward Fickett and, most famously, John Lautner. Elrod's life was cut tragically short when the convertible he was riding in was hit by a drunk driver one morning in February 1974; he was 49. This in-depth biography is the first and only of its kind.
Arthur Elrod: Desert modern design
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Arthur Elrod was the most successful interior designer working in the Palm Springs area from 1954 to 1974. His forward-thinking midcentury interior design appeared in primary homes, second houses, third houses, spec houses, country clubs, and experimental houses- in the desert and across the US. He was charming, handsome, and worked tirelessly for his A-list clientele, such as Lucille Ball and Walt Disney. Perhaps his most famous work was done in his own home, known as the Elrod House in Palm Springs, built by architect John Lautner in 1968. His rise paralleled the growing modernist movement in desert architecture, and he worked alongside the leading California architects of the day including E. Stewart Williams, William F. Cody, Paul R. Williams, Edward Fickett and, most famously, John Lautner. Elrod's life was cut tragically short when the convertible he was riding in was hit by a drunk driver one morning in February 1974; he was 49. This in-depth biography is the first and only of its kind.
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books
books
Publication:
February 2019
February 2019
Subject:
Interior Design
Interior Design
Form:
books
books
Title:
Showcasing the Great Experiment: Cultural Diplomacy and Western Visitors to the Soviet Union, 1921-1
Showcasing the Great Experiment: Cultural Diplomacy and Western Visitors to the Soviet Union, 1921-1
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During the 1920s and 1930s, thousands of European and American writers, professionals, scientists, artists, and intellectuals made a pilgrimage to experience the "Soviet experiment" for themselves. ''Showcasing the Great Experiment'' explores the reception of these intellectuals and fellow-travelers and their cross-cultural and trans-ideological encounters in order to(...)
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During the 1920s and 1930s, thousands of European and American writers, professionals, scientists, artists, and intellectuals made a pilgrimage to experience the "Soviet experiment" for themselves. ''Showcasing the Great Experiment'' explores the reception of these intellectuals and fellow-travelers and their cross-cultural and trans-ideological encounters in order to(...)
Title:
Showcasing the Great Experiment: Cultural Diplomacy and Western Visitors to the Soviet Union, 1921-1
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During the 1920s and 1930s, thousands of European and American writers, professionals, scientists, artists, and intellectuals made a pilgrimage to experience the "Soviet experiment" for themselves. ''Showcasing the Great Experiment'' explores the reception of these intellectuals and fellow-travelers and their cross-cultural and trans-ideological encounters in order to analyze Soviet attitudes towards the West. While many visitors were profoundly affected by their Soviet tours, so too was the Soviet system. The early experiences of building showcases and teaching outsiders to perceive the future-in-the-making constitute a neglected international part of the emergence of Stalinism at home. Michael David-Fox contends that each side critically examined the other, negotiating feelings of inferiority and superiority, admiration and enmity, emulation and rejection. By the time of the Great Purges, these tensions gave way to the dramatic triumph of xenophobia and isolationism; whereas in the twenties the new regime assumed it had much to learn from Western modernity, by the Stalinist thirties the Soviet order was declared superior in all respects.
Showcasing the Great Experiment: Cultural Diplomacy and Western Visitors to the Soviet Union, 1921-1
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During the 1920s and 1930s, thousands of European and American writers, professionals, scientists, artists, and intellectuals made a pilgrimage to experience the "Soviet experiment" for themselves. ''Showcasing the Great Experiment'' explores the reception of these intellectuals and fellow-travelers and their cross-cultural and trans-ideological encounters in order to analyze Soviet attitudes towards the West. While many visitors were profoundly affected by their Soviet tours, so too was the Soviet system. The early experiences of building showcases and teaching outsiders to perceive the future-in-the-making constitute a neglected international part of the emergence of Stalinism at home. Michael David-Fox contends that each side critically examined the other, negotiating feelings of inferiority and superiority, admiration and enmity, emulation and rejection. By the time of the Great Purges, these tensions gave way to the dramatic triumph of xenophobia and isolationism; whereas in the twenties the new regime assumed it had much to learn from Western modernity, by the Stalinist thirties the Soviet order was declared superior in all respects.
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books
books
Publication:
February 2014
February 2014
Subject:
Current Exhibitions
Current Exhibitions
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books
books
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Bruce Davidson describes the genesis of this project thus: "Esquire's editors sent me to Los Angeles, and when I landed at LA International Airport I noticed giant palm trees growing in the parking lot. I ordered a hamburger through a microphone speaker in a drive-in called Tiny Naylor's. The freeways were blank and brilliant, chromium-plated bumpers reflected the Pacific(...)
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Bruce Davidson describes the genesis of this project thus: "Esquire's editors sent me to Los Angeles, and when I landed at LA International Airport I noticed giant palm trees growing in the parking lot. I ordered a hamburger through a microphone speaker in a drive-in called Tiny Naylor's. The freeways were blank and brilliant, chromium-plated bumpers reflected the Pacific(...)
Title:
Bruce Davidson: Los Angeles 1964
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Bruce Davidson describes the genesis of this project thus: "Esquire's editors sent me to Los Angeles, and when I landed at LA International Airport I noticed giant palm trees growing in the parking lot. I ordered a hamburger through a microphone speaker in a drive-in called Tiny Naylor's. The freeways were blank and brilliant, chromium-plated bumpers reflected the Pacific Ocean, but the air quality was said to be bad. People looking like mannequins seemed at peace on the Sunset Strip while others were euphoric as they watered the desert. I stood there ready with my Leica, aware of my shadow on the pavement. I walked up to strangers, framed, focused and in a split second of alienations and cynicism, pressed the shutter button. Suddenly I had an awakening that led me to another level of visual understanding. But in the end, for some unknown reasons, the editors rejected the pictures, and I had to return home with a big box of prints, put them in a drawer, and forgot all about the trip."
Bruce Davidson: Los Angeles 1964
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Bruce Davidson describes the genesis of this project thus: "Esquire's editors sent me to Los Angeles, and when I landed at LA International Airport I noticed giant palm trees growing in the parking lot. I ordered a hamburger through a microphone speaker in a drive-in called Tiny Naylor's. The freeways were blank and brilliant, chromium-plated bumpers reflected the Pacific Ocean, but the air quality was said to be bad. People looking like mannequins seemed at peace on the Sunset Strip while others were euphoric as they watered the desert. I stood there ready with my Leica, aware of my shadow on the pavement. I walked up to strangers, framed, focused and in a split second of alienations and cynicism, pressed the shutter button. Suddenly I had an awakening that led me to another level of visual understanding. But in the end, for some unknown reasons, the editors rejected the pictures, and I had to return home with a big box of prints, put them in a drawer, and forgot all about the trip."
Form:
books
books
Publication:
March 2015
March 2015
Subject:
Photography monographs
Photography monographs
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books
books
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$27.95
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Summary:
On the top floor of a lovely old Parisian apartment building in the Avenue des Temps Perdus lives the slightly odd Mademoiselle Oiseau. No one knows exactly how old she is. In fact, since she never leaves her house, nobody really knows her at all. Sometimes, though, one can catch a glimpse of this elegant lady with her unkempt curls and endlessly long pearl necklaces when(...)
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On the top floor of a lovely old Parisian apartment building in the Avenue des Temps Perdus lives the slightly odd Mademoiselle Oiseau. No one knows exactly how old she is. In fact, since she never leaves her house, nobody really knows her at all. Sometimes, though, one can catch a glimpse of this elegant lady with her unkempt curls and endlessly long pearl necklaces when(...)
Subject:
Children's Books
Children's Books
Publication:
March 2015
March 2015
Title:
The story of Mademoiselle Oiseau
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On the top floor of a lovely old Parisian apartment building in the Avenue des Temps Perdus lives the slightly odd Mademoiselle Oiseau. No one knows exactly how old she is. In fact, since she never leaves her house, nobody really knows her at all. Sometimes, though, one can catch a glimpse of this elegant lady with her unkempt curls and endlessly long pearl necklaces when she’s out on her terrace amid her countless cats and birds. Isabella is a 9-year-old girl who lives in the apartment under Mademoiselle Oiseau’s. She is so unremarkable that she’s practically invisible. One day, when Isabella comes home from school and gets in the elevator, she accidentally presses the number for the sixth floor rather than the fifth. She doesn’t even realize her mistake until she sticks her key into the lock and Mademoiselle Oiseau opens the door. In this tale, Mademoiselle Oiseau helps turn shy Isabella into a confident girl. This is a story about friendship, dreams, and growing up.
The story of Mademoiselle Oiseau
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On the top floor of a lovely old Parisian apartment building in the Avenue des Temps Perdus lives the slightly odd Mademoiselle Oiseau. No one knows exactly how old she is. In fact, since she never leaves her house, nobody really knows her at all. Sometimes, though, one can catch a glimpse of this elegant lady with her unkempt curls and endlessly long pearl necklaces when she’s out on her terrace amid her countless cats and birds. Isabella is a 9-year-old girl who lives in the apartment under Mademoiselle Oiseau’s. She is so unremarkable that she’s practically invisible. One day, when Isabella comes home from school and gets in the elevator, she accidentally presses the number for the sixth floor rather than the fifth. She doesn’t even realize her mistake until she sticks her key into the lock and Mademoiselle Oiseau opens the door. In this tale, Mademoiselle Oiseau helps turn shy Isabella into a confident girl. This is a story about friendship, dreams, and growing up.
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books
books
Publication:
March 2015
March 2015
Subject:
Children's Books
Children's Books
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books
books
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$58.95
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Summary:
In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the(...)
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In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the(...)
Publication:
November 2015
November 2015
Title:
Aunties: the seven summers of Alevtina and Ludmila
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In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the small details and daily rituals of her aunts surprisingly colorful and dreamlike days, taking us not only to another country but to another time. Alevtina and Ludmila, now in their seventies, seem both old and young, as if time itself was as seamless and cyclical as their routines working on puzzles, sewing curtains, tatting lace, picking berries, repairing fences and as full of the same subtle mysteries. Sablin collaborated with her aunts to recreate scenes she remembered from her childhood and to make new images of the patterns of their days. In these photographs, Sablin combines observation and invention, biography and autobiography, to tell the stories of her aunts life together, and in the process, quilts together a thoughtful meditation on memory, aging, and belonging.
Aunties: the seven summers of Alevtina and Ludmila
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In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the small details and daily rituals of her aunts surprisingly colorful and dreamlike days, taking us not only to another country but to another time. Alevtina and Ludmila, now in their seventies, seem both old and young, as if time itself was as seamless and cyclical as their routines working on puzzles, sewing curtains, tatting lace, picking berries, repairing fences and as full of the same subtle mysteries. Sablin collaborated with her aunts to recreate scenes she remembered from her childhood and to make new images of the patterns of their days. In these photographs, Sablin combines observation and invention, biography and autobiography, to tell the stories of her aunts life together, and in the process, quilts together a thoughtful meditation on memory, aging, and belonging.
Form:
books
books
Publication:
November 2015
November 2015
