223 Résultats
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material(...)
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avril 2000, Cambridge
avril 2000, Cambridge
Titre:
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
Hybrid modernities : architecture and representation at the 1931 colonial exposition, Paris
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The 1931 international colonial exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"--the site of rampant sensuality, decadence, and irrationality--and as the laboratory of Western rationality. In "Hybrid modernities", Patricia Morton shows how the exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the colonial exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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avril 2000, Cambridge
avril 2000, Cambridge
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L'entrepôt : Musée Bordeaux
L'entrepôt : Musée Bordeaux
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle(...)
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle(...)
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L'entrepôt : Musée Bordeaux
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle page de son histoire commence alors. Réaménagé par les architectes Pistre & Valode et Andrée Putman qui lui rendent son aspect d'origine, l'entrepôt devient musée d'art contemporain, offrant aux artistes une architecture épurée.
L'entrepôt : Musée Bordeaux
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Construit au début du XIXe siècle, au moment où le port de Bordeaux cherche une seconde vie, l'entrepôt Lainé a abrité les épices et les marchandises précieuses ramenées des colonies pendant plus d'un siècle. Désaffecté, menacé de destruction, il est heureusement racheté par la ville de Bordeaux en 1973 pour devenir un lieu à vocation culturelle. Une nouvelle page de son histoire commence alors. Réaménagé par les architectes Pistre & Valode et Andrée Putman qui lui rendent son aspect d'origine, l'entrepôt devient musée d'art contemporain, offrant aux artistes une architecture épurée.
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avril 2000, Paris
avril 2000, Paris
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livres
Titre:
Museums and memory
Museums and memory
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and(...)
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and(...)
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Museums and memory
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and scholars. Representing a variety of fields—history, anthropology, art history, and museum scholarship—the contributors discuss museums across disciplinary boundaries that have separated art museums from natural history museums or local history museums from national galleries. The essays range widely over time (from the Renaissance to the second half of the twentieth century), and place (China, Japan, the United States, and Germany), in exhibitions explored (photography, Native American history, and “Jurassic technology”), and institution (the Chinese Imperial Collection, Renaissance curiosity cabinets, and modern art museums). Memory operates thematically among the essays in diverse and provocative ways. The papers are organized according to three suggestive themes: experimental ways of theorizing and designing contemporary museums with an explicit interest in history and memory; discussions of personal encounters with historical exhibits; and the professional risks at stake for collectors and curators who shape the institutional presentation of history and memory. The contributors are Susan A. Crane, Wolfgang Ernst, Michael Fehr, Paula Findlen, Tamara Hamlish, Alexis Joachimides, Suzanne Marchand, Julia A. Thomas, and Diana Drake Wilson.
Museums and memory
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Museums today are more than familiar cultural institutions and showplaces of accumulated objects; they are the sites of interaction between personal and collective identities, between memory and history. The essays in this volume consider museums from personal experience and historical study, and from the memories of museum visitors, curators, and scholars. Representing a variety of fields—history, anthropology, art history, and museum scholarship—the contributors discuss museums across disciplinary boundaries that have separated art museums from natural history museums or local history museums from national galleries. The essays range widely over time (from the Renaissance to the second half of the twentieth century), and place (China, Japan, the United States, and Germany), in exhibitions explored (photography, Native American history, and “Jurassic technology”), and institution (the Chinese Imperial Collection, Renaissance curiosity cabinets, and modern art museums). Memory operates thematically among the essays in diverse and provocative ways. The papers are organized according to three suggestive themes: experimental ways of theorizing and designing contemporary museums with an explicit interest in history and memory; discussions of personal encounters with historical exhibits; and the professional risks at stake for collectors and curators who shape the institutional presentation of history and memory. The contributors are Susan A. Crane, Wolfgang Ernst, Michael Fehr, Paula Findlen, Tamara Hamlish, Alexis Joachimides, Suzanne Marchand, Julia A. Thomas, and Diana Drake Wilson.
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juin 2000, Stanford
juin 2000, Stanford
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Since their inception with New York's Crystal Palace Exhibition in the mid-nineteenth century, world's fairs have introduced Americans to “exotic” pleasures such as belly dancing and the Ferris Wheel; pathbreaking technologies such as telephones and X rays; and futuristic architectural, landscaping, and transportation schemes. Billed by their promoters as “encyclopedias(...)
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Since their inception with New York's Crystal Palace Exhibition in the mid-nineteenth century, world's fairs have introduced Americans to “exotic” pleasures such as belly dancing and the Ferris Wheel; pathbreaking technologies such as telephones and X rays; and futuristic architectural, landscaping, and transportation schemes. Billed by their promoters as “encyclopedias(...)
Titre:
Fair America: world's fairs in the United States
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Since their inception with New York's Crystal Palace Exhibition in the mid-nineteenth century, world's fairs have introduced Americans to “exotic” pleasures such as belly dancing and the Ferris Wheel; pathbreaking technologies such as telephones and X rays; and futuristic architectural, landscaping, and transportation schemes. Billed by their promoters as “encyclopedias of civilization,” the expositions impressed tens of millions of fairgoers with model environments and utopian visions. Setting more than 30 world’s fairs from 1853 to 1984 in their historical context, the authors show that the expositions reflected and influenced not only the ideals but also the cultural tensions of their times. As mainstays rather than mere ornaments of American life, world’s fairs created national support for such issues as the social reunification of North and South after the Civil War, U.S. imperial expansion at the turn of the 20th-century, consumer optimism during the Great Depression, and the essential unity of humankind in a nuclear age.
Fair America: world's fairs in the United States
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Since their inception with New York's Crystal Palace Exhibition in the mid-nineteenth century, world's fairs have introduced Americans to “exotic” pleasures such as belly dancing and the Ferris Wheel; pathbreaking technologies such as telephones and X rays; and futuristic architectural, landscaping, and transportation schemes. Billed by their promoters as “encyclopedias of civilization,” the expositions impressed tens of millions of fairgoers with model environments and utopian visions. Setting more than 30 world’s fairs from 1853 to 1984 in their historical context, the authors show that the expositions reflected and influenced not only the ideals but also the cultural tensions of their times. As mainstays rather than mere ornaments of American life, world’s fairs created national support for such issues as the social reunification of North and South after the Civil War, U.S. imperial expansion at the turn of the 20th-century, consumer optimism during the Great Depression, and the essential unity of humankind in a nuclear age.
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Publication:
mars 2000
mars 2000
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$11.50
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An edited transcript of the third BALTIC international seminar, Curating New Media focuses on the relationship of new media art to the institution. Curators, artists and academics share their perspectives on the curating, collecting, commissioning and presenting of computer-based art in one of the first books to be published specifically on this subject.
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An edited transcript of the third BALTIC international seminar, Curating New Media focuses on the relationship of new media art to the institution. Curators, artists and academics share their perspectives on the curating, collecting, commissioning and presenting of computer-based art in one of the first books to be published specifically on this subject.
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janvier 1900, Gateshead, England
janvier 1900, Gateshead, England
Titre:
Curating new media : third BALTIC International Seminar, 2001
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An edited transcript of the third BALTIC international seminar, Curating New Media focuses on the relationship of new media art to the institution. Curators, artists and academics share their perspectives on the curating, collecting, commissioning and presenting of computer-based art in one of the first books to be published specifically on this subject.
Curating new media : third BALTIC International Seminar, 2001
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An edited transcript of the third BALTIC international seminar, Curating New Media focuses on the relationship of new media art to the institution. Curators, artists and academics share their perspectives on the curating, collecting, commissioning and presenting of computer-based art in one of the first books to be published specifically on this subject.
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janvier 1900, Gateshead, England
janvier 1900, Gateshead, England
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Cet ouvrage ouvre les portes des plus grands musées d’Europe qui, dans toute la diversité de leur conception et de leurs collections, ont eu pour volonté commune d’offrir une histoire des arts et des cultures. L’on découvrira les collections encyclopédiques du Vatican, les sculptures classiques de la cour du Belvédère, les collections impériales russes des palais de(...)
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Cet ouvrage ouvre les portes des plus grands musées d’Europe qui, dans toute la diversité de leur conception et de leurs collections, ont eu pour volonté commune d’offrir une histoire des arts et des cultures. L’on découvrira les collections encyclopédiques du Vatican, les sculptures classiques de la cour du Belvédère, les collections impériales russes des palais de(...)
Titre:
Grands musées d'Europe : le rêve du musée universel
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Cet ouvrage ouvre les portes des plus grands musées d’Europe qui, dans toute la diversité de leur conception et de leurs collections, ont eu pour volonté commune d’offrir une histoire des arts et des cultures. L’on découvrira les collections encyclopédiques du Vatican, les sculptures classiques de la cour du Belvédère, les collections impériales russes des palais de l’Ermitage, les collections des Habsbourg réunies au Kunsthistorisches Museum de Vienne, les collections des Bourbons conservées au musée du Prado. L’on verra dans le musée du Louvre et dans le British Museum, la réalisation du rêve napoléonien de musée universel. Dans le projet d’une citadelle de la culture, l’on reconnaîtra le système muséal prussien installé sur la Museumsinsel de Berlin, et, plus circonscrit, le Rijskmuseum d’Amsterdam. Huit chapitres et un corpus photographique pour connaître l’historique de ces musées, la genèse et l’évolution des collections, pour cheminer à travers ces lieux emblématiques qui accueillent des chefs-d’œuvre de l’Histoire. Introduction d'Antonio Paolucci. Rédaction scientifique de Valerio Terraroli.
Grands musées d'Europe : le rêve du musée universel
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Cet ouvrage ouvre les portes des plus grands musées d’Europe qui, dans toute la diversité de leur conception et de leurs collections, ont eu pour volonté commune d’offrir une histoire des arts et des cultures. L’on découvrira les collections encyclopédiques du Vatican, les sculptures classiques de la cour du Belvédère, les collections impériales russes des palais de l’Ermitage, les collections des Habsbourg réunies au Kunsthistorisches Museum de Vienne, les collections des Bourbons conservées au musée du Prado. L’on verra dans le musée du Louvre et dans le British Museum, la réalisation du rêve napoléonien de musée universel. Dans le projet d’une citadelle de la culture, l’on reconnaîtra le système muséal prussien installé sur la Museumsinsel de Berlin, et, plus circonscrit, le Rijskmuseum d’Amsterdam. Huit chapitres et un corpus photographique pour connaître l’historique de ces musées, la genèse et l’évolution des collections, pour cheminer à travers ces lieux emblématiques qui accueillent des chefs-d’œuvre de l’Histoire. Introduction d'Antonio Paolucci. Rédaction scientifique de Valerio Terraroli.
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Publication:
juin 2003, Milan
juin 2003, Milan
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$98.00
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With World Expo at the doorstep, Lisbon presents its architectural plans for the exposition site. With detailed ground plans, scale-models, CAD-designs, and drawings, this book gives a good idea of what the Expo will look like.
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With World Expo at the doorstep, Lisbon presents its architectural plans for the exposition site. With detailed ground plans, scale-models, CAD-designs, and drawings, this book gives a good idea of what the Expo will look like.
Titre:
Lisbon world expo 98 : projects
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With World Expo at the doorstep, Lisbon presents its architectural plans for the exposition site. With detailed ground plans, scale-models, CAD-designs, and drawings, this book gives a good idea of what the Expo will look like.
Lisbon world expo 98 : projects
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With World Expo at the doorstep, Lisbon presents its architectural plans for the exposition site. With detailed ground plans, scale-models, CAD-designs, and drawings, this book gives a good idea of what the Expo will look like.
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livres
Publication:
janvier 1900, Lisbon
janvier 1900, Lisbon
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livres
Titre:
Towards a new museum
Towards a new museum
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Divided into various themes covering the relationships between museums and collectors, trustees, artists, and the public, the book takes a critical look at innovative architecture that interacts with art and the public. The book includes Gehry's Guggenheim at Bilbao, Meier's Getty Center, Libeskind's Jewish Museum, Herzog & de Meuron's Goetz Gallery in(...)
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Divided into various themes covering the relationships between museums and collectors, trustees, artists, and the public, the book takes a critical look at innovative architecture that interacts with art and the public. The book includes Gehry's Guggenheim at Bilbao, Meier's Getty Center, Libeskind's Jewish Museum, Herzog & de Meuron's Goetz Gallery in(...)
Publication:
juin 1997, New York
juin 1997, New York
Titre:
Towards a new museum
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Divided into various themes covering the relationships between museums and collectors, trustees, artists, and the public, the book takes a critical look at innovative architecture that interacts with art and the public. The book includes Gehry's Guggenheim at Bilbao, Meier's Getty Center, Libeskind's Jewish Museum, Herzog & de Meuron's Goetz Gallery in Munich, and Holl's Museum of Contemporary Art in Helsinki, among others.
Towards a new museum
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Divided into various themes covering the relationships between museums and collectors, trustees, artists, and the public, the book takes a critical look at innovative architecture that interacts with art and the public. The book includes Gehry's Guggenheim at Bilbao, Meier's Getty Center, Libeskind's Jewish Museum, Herzog & de Meuron's Goetz Gallery in Munich, and Holl's Museum of Contemporary Art in Helsinki, among others.
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Publication:
juin 1997, New York
juin 1997, New York
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$21.00
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Sur ces deux objets à la mode, célébrés par tout le monde, y compris par l’industrie du tourisme globalisée, la Promenade plantée de Paris et le High Line Park de Manhattan, on aura tout entendu, sauf peut-être l’essentiel : que ces dispositifs complexes sont générés par la ville elle-même et qu’elle nous communique par là quelque chose de fondamental. C’est la raison(...)
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Sur ces deux objets à la mode, célébrés par tout le monde, y compris par l’industrie du tourisme globalisée, la Promenade plantée de Paris et le High Line Park de Manhattan, on aura tout entendu, sauf peut-être l’essentiel : que ces dispositifs complexes sont générés par la ville elle-même et qu’elle nous communique par là quelque chose de fondamental. C’est la raison(...)
Titre:
Cette ville qui nous regarde: de la Promenade plantée au High Line Park
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Sur ces deux objets à la mode, célébrés par tout le monde, y compris par l’industrie du tourisme globalisée, la Promenade plantée de Paris et le High Line Park de Manhattan, on aura tout entendu, sauf peut-être l’essentiel : que ces dispositifs complexes sont générés par la ville elle-même et qu’elle nous communique par là quelque chose de fondamental. C’est la raison pour laquelle nous devons prêter toute notre attention et intelligence à ce qui s’est installé au tournant du siècle à New York et à Paris, convaincus comme nous le sommes, qu’il y a avec ces plateformes – outre les thèmes de la marche et de la déambulation urbaine, de la flânerie et de la dérive, de la ruine et de la rouille, de la trame verte et du spectacle – tout un monde à découvrir. Michael Jakob est professeur de théorie et histoire du paysage à la Haute école du paysage, d'ingénierie et d'architecture (Hepia), à Genève.
Cette ville qui nous regarde: de la Promenade plantée au High Line Park
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Sur ces deux objets à la mode, célébrés par tout le monde, y compris par l’industrie du tourisme globalisée, la Promenade plantée de Paris et le High Line Park de Manhattan, on aura tout entendu, sauf peut-être l’essentiel : que ces dispositifs complexes sont générés par la ville elle-même et qu’elle nous communique par là quelque chose de fondamental. C’est la raison pour laquelle nous devons prêter toute notre attention et intelligence à ce qui s’est installé au tournant du siècle à New York et à Paris, convaincus comme nous le sommes, qu’il y a avec ces plateformes – outre les thèmes de la marche et de la déambulation urbaine, de la flânerie et de la dérive, de la ruine et de la rouille, de la trame verte et du spectacle – tout un monde à découvrir. Michael Jakob est professeur de théorie et histoire du paysage à la Haute école du paysage, d'ingénierie et d'architecture (Hepia), à Genève.
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livres
livres
Publication:
décembre 2015
décembre 2015
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$30.00
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The new and remarkable season of Milanese architecture and its great protagonists. An interpretation of the recent and decisive transformations of Milan, with a focus on the Expo area, including the international pavilions and service structures.
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The new and remarkable season of Milanese architecture and its great protagonists. An interpretation of the recent and decisive transformations of Milan, with a focus on the Expo area, including the international pavilions and service structures.
Titre:
Milan architectureL the city and expo
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The new and remarkable season of Milanese architecture and its great protagonists. An interpretation of the recent and decisive transformations of Milan, with a focus on the Expo area, including the international pavilions and service structures.
Milan architectureL the city and expo
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The new and remarkable season of Milanese architecture and its great protagonists. An interpretation of the recent and decisive transformations of Milan, with a focus on the Expo area, including the international pavilions and service structures.
Classification:
livres
livres
Publication:
mars 2016
mars 2016
