224 Résultats
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In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a(...)
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In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a(...)
Publication:
février 2014
février 2014
Titre:
When attitudes become form: Bern 1969/Venice 2013
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In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle.
When attitudes become form: Bern 1969/Venice 2013
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In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle.
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livres
livres
Publication:
février 2014
février 2014
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livres
livres
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$75.00
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Seamlessly interweaving the new with the historic, the renovation by Selldorf Architects preserves The Frick Collection’s Gilded Age grandeur and sense of tranquillity while making more of the museum accessible and adding important new amenities. A museum of memorable rooms and superb Old Master holdings, The Frick Collection, the former home of industrialist Henry Clay(...)
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Seamlessly interweaving the new with the historic, the renovation by Selldorf Architects preserves The Frick Collection’s Gilded Age grandeur and sense of tranquillity while making more of the museum accessible and adding important new amenities. A museum of memorable rooms and superb Old Master holdings, The Frick Collection, the former home of industrialist Henry Clay(...)
Publication:
janvier 2026
janvier 2026
Titre:
A Design for Continuity and Change: The Frick Collection
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Seamlessly interweaving the new with the historic, the renovation by Selldorf Architects preserves The Frick Collection’s Gilded Age grandeur and sense of tranquillity while making more of the museum accessible and adding important new amenities. A museum of memorable rooms and superb Old Master holdings, The Frick Collection, the former home of industrialist Henry Clay Frick, is one of New York City’s most beloved art institutions. Designed by Thomas Hastings of the New York firm of Carrère and Hastings, the original Fifth Avenue mansion was completed in 1914 and served the Frick family until 1931. With John Russell Pope’s expansion of the mansion in 1935, which included the addition of a library (today’s esteemed Frick Art Research Library), the residence was converted into a public museum. The goal of the renovation was to honor the architectural legacy and unique contemplative atmosphere of the Frick while adding new space and critical infrastructure updates. Visitors will enjoy the enhanced functionality of the institution, and its improved climate controls will ensure the preservation of the collection and the house for generations to come.
A Design for Continuity and Change: The Frick Collection
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Résumé:
Seamlessly interweaving the new with the historic, the renovation by Selldorf Architects preserves The Frick Collection’s Gilded Age grandeur and sense of tranquillity while making more of the museum accessible and adding important new amenities. A museum of memorable rooms and superb Old Master holdings, The Frick Collection, the former home of industrialist Henry Clay Frick, is one of New York City’s most beloved art institutions. Designed by Thomas Hastings of the New York firm of Carrère and Hastings, the original Fifth Avenue mansion was completed in 1914 and served the Frick family until 1931. With John Russell Pope’s expansion of the mansion in 1935, which included the addition of a library (today’s esteemed Frick Art Research Library), the residence was converted into a public museum. The goal of the renovation was to honor the architectural legacy and unique contemplative atmosphere of the Frick while adding new space and critical infrastructure updates. Visitors will enjoy the enhanced functionality of the institution, and its improved climate controls will ensure the preservation of the collection and the house for generations to come.
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livres
livres
Publication:
janvier 2026
janvier 2026
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livres
livres
Titre:
Ghostscape
Ghostscape
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Cet ouvrage est le catalogue de l’exposition Villa Savoyehantée qui a lieu du 20 novembre au 22 décembre 2004 à la Villa Savoye. Pendant l’hiver 2003, durant un mois, l’architecte Philippe Rahm et seize étudiants de l’atelier de Jean-Luc Vilmouth, artiste et enseignant à l’École nationale supérieure des beaux-arts, vont « hanter la modernité de la Villa Savoye de Le(...)
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Cet ouvrage est le catalogue de l’exposition Villa Savoyehantée qui a lieu du 20 novembre au 22 décembre 2004 à la Villa Savoye. Pendant l’hiver 2003, durant un mois, l’architecte Philippe Rahm et seize étudiants de l’atelier de Jean-Luc Vilmouth, artiste et enseignant à l’École nationale supérieure des beaux-arts, vont « hanter la modernité de la Villa Savoye de Le(...)
Titre:
Ghostscape
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Cet ouvrage est le catalogue de l’exposition Villa Savoyehantée qui a lieu du 20 novembre au 22 décembre 2004 à la Villa Savoye. Pendant l’hiver 2003, durant un mois, l’architecte Philippe Rahm et seize étudiants de l’atelier de Jean-Luc Vilmouth, artiste et enseignant à l’École nationale supérieure des beaux-arts, vont « hanter la modernité de la Villa Savoye de Le Corbusier, en visiter les dimensions cachées, les zones d’ombres, sa part invisible.Chercher des fantômes dans la transparence du verre, révéler l’occulte dans les surfaces lisses et légères, l’ineffable dans l’architecture blanche et lumineuse d’un siècle moderne déjà passé. Il existe une contemporanéité des fantômes. » Ce catalogue présente les travaux des étudiants, en « dialogue » avec le récit de cette expérience commune. Il raconte également l’histoire de la Villa Savoye de Le Corbusier, manifeste de la modernité architecturale et classée monument historique en 1965, et propose un regard différent sur cette « pure création de l’esprit», comme l’appelait Le Corbusier lui-même.
Ghostscape
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Cet ouvrage est le catalogue de l’exposition Villa Savoyehantée qui a lieu du 20 novembre au 22 décembre 2004 à la Villa Savoye. Pendant l’hiver 2003, durant un mois, l’architecte Philippe Rahm et seize étudiants de l’atelier de Jean-Luc Vilmouth, artiste et enseignant à l’École nationale supérieure des beaux-arts, vont « hanter la modernité de la Villa Savoye de Le Corbusier, en visiter les dimensions cachées, les zones d’ombres, sa part invisible.Chercher des fantômes dans la transparence du verre, révéler l’occulte dans les surfaces lisses et légères, l’ineffable dans l’architecture blanche et lumineuse d’un siècle moderne déjà passé. Il existe une contemporanéité des fantômes. » Ce catalogue présente les travaux des étudiants, en « dialogue » avec le récit de cette expérience commune. Il raconte également l’histoire de la Villa Savoye de Le Corbusier, manifeste de la modernité architecturale et classée monument historique en 1965, et propose un regard différent sur cette « pure création de l’esprit», comme l’appelait Le Corbusier lui-même.
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livres
livres
Publication:
août 2005, Paris
août 2005, Paris
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livres
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. (...)
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. (...)
Publication:
décembre 1998, Cambridge, Mass.
décembre 1998, Cambridge, Mass.
Titre:
Power of display : a history of the exhibition installations at the museum of modern art
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. Focusing on over two hundred photographs of the visually rich but overlooked history of exhibitions, Staniszewski documents and deciphers an essential chapter of twentieth-century art and culture and provides a historical and theoretical framework for a primary area of contemporary aesthetic practice--installation-based art. Among the artists, designers, architects, and curators whose installations the author features are Dennis Adams, Alfred H. Barr, Jr., Herbert Bayer, René d'Harnoncourt, Ray and Charles Eames, Hans Haacke, David Hammons, Philip Johnson, Frederick Kiesler, Barbara Kruger, Louise Lawler, El Lissitzky, Adrian Piper, Lilly Reich, William Rubin, Paul Rudolph, Edward Steichen, Giuseppe Terragni, and Kirk Varnedoe.
Power of display : a history of the exhibition installations at the museum of modern art
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In this examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. Focusing on over two hundred photographs of the visually rich but overlooked history of exhibitions, Staniszewski documents and deciphers an essential chapter of twentieth-century art and culture and provides a historical and theoretical framework for a primary area of contemporary aesthetic practice--installation-based art. Among the artists, designers, architects, and curators whose installations the author features are Dennis Adams, Alfred H. Barr, Jr., Herbert Bayer, René d'Harnoncourt, Ray and Charles Eames, Hans Haacke, David Hammons, Philip Johnson, Frederick Kiesler, Barbara Kruger, Louise Lawler, El Lissitzky, Adrian Piper, Lilly Reich, William Rubin, Paul Rudolph, Edward Steichen, Giuseppe Terragni, and Kirk Varnedoe.
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livres
livres
Publication:
décembre 1998, Cambridge, Mass.
décembre 1998, Cambridge, Mass.
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livres
livres
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$77.00
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
$77.00
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
Publication:
avril 1998, Stuttgart
avril 1998, Stuttgart
Titre:
The Vienna Secession : from temple of art to exhibition hall
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
The Vienna Secession : from temple of art to exhibition hall
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This book illuminates the history of a century of the artists' association known as the Vienna Secession and traces the evolution of a temple of art into a major exhibition centre.
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livres
livres
Publication:
avril 1998, Stuttgart
avril 1998, Stuttgart
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livres
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor(...)
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor(...)
Titre:
Acconci, Holl : storefront for art and architecture
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor of a low building on the outskirts of Soho - Acconci and Holl created a versatile façade which may be opened up in different ways according to the season or function as an optical screen separating the inner space from the street. The different functions, answering to the needs of inner and outer space and creating links and transparencies or establishing borders, serve to provide visitors with ever-changing local and spatial relations.
Acconci, Holl : storefront for art and architecture
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In 1993, the artist Vito Acconci and the architect Steven Holl were invited to redesign the then existing façade of the Storefront Gallery in New York. As a response to its urban context and its function as an art space - the gallery is situated on the ground floor of a low building on the outskirts of Soho - Acconci and Holl created a versatile façade which may be opened up in different ways according to the season or function as an optical screen separating the inner space from the street. The different functions, answering to the needs of inner and outer space and creating links and transparencies or establishing borders, serve to provide visitors with ever-changing local and spatial relations.
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livres
livres
Publication:
janvier 2001, Bregenz
janvier 2001, Bregenz
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livres
livres
Titre:
Architecture et musée
Architecture et musée
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Actes du colloque organisé au Musée royal de Mariemont.
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Actes du colloque organisé au Musée royal de Mariemont.
Publication:
mars 2001, Tournai
mars 2001, Tournai
Titre:
Architecture et musée
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Actes du colloque organisé au Musée royal de Mariemont.
Architecture et musée
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Actes du colloque organisé au Musée royal de Mariemont.
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livres
livres
Publication:
mars 2001, Tournai
mars 2001, Tournai
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livres
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$75.00
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special(...)
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special(...)
Publication:
janvier 1900, Berkeley
janvier 1900, Berkeley
Titre:
An empire on display : English, Indian, and Australian exhibitions from the Crystal Palace to the Great War
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special interest in the interactive nature of the exhibition experience, the long-term consequences for the participants and host societies, and the ways in which such popular gatherings revealed dissent as well as celebration. Hoffenberg shows how exhibitions shaped culture and society within and across borders in the transnational working of the British Empire. The exhibitions were central to establishing and developing a participatory imperial world, and each polity in that world provided distinctive information, visitors, and exhibits. Among the displays were commercial goods, working machines, and ethnographic scenes. Exhibits were intended to promote external commonwealth and internal nationalism. The imperial overlay did not erase significant differences but explained and used them in economic and cultural terms. The exhibitions in cities such as London, Sydney, and Calcutta were living and active public inventories of the Empire and its national political communities. The process of building and consuming such inventories persists today in the cultural bureaucracies, museums, and festivals of modern nation-states, the appeal to tradition and social order, and the actions of transnational bodies.
An empire on display : English, Indian, and Australian exhibitions from the Crystal Palace to the Great War
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The grand exhibitions of the Victorian and Edwardian eras are the lens through which Peter Hoffenberg examines the economic, cultural, and social forces that helped define Britain and the British Empire. He focuses on major exhibitions in England, Australia, and India between the Great Exhibition of 1851 and the Festival of Empire sixty years later, taking special interest in the interactive nature of the exhibition experience, the long-term consequences for the participants and host societies, and the ways in which such popular gatherings revealed dissent as well as celebration. Hoffenberg shows how exhibitions shaped culture and society within and across borders in the transnational working of the British Empire. The exhibitions were central to establishing and developing a participatory imperial world, and each polity in that world provided distinctive information, visitors, and exhibits. Among the displays were commercial goods, working machines, and ethnographic scenes. Exhibits were intended to promote external commonwealth and internal nationalism. The imperial overlay did not erase significant differences but explained and used them in economic and cultural terms. The exhibitions in cities such as London, Sydney, and Calcutta were living and active public inventories of the Empire and its national political communities. The process of building and consuming such inventories persists today in the cultural bureaucracies, museums, and festivals of modern nation-states, the appeal to tradition and social order, and the actions of transnational bodies.
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livres
livres
Publication:
janvier 1900, Berkeley
janvier 1900, Berkeley
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livres
livres
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$74.95
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She(...)
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She(...)
Titre:
Nature's museums : Victorian science & the architecture of display
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She explains how the rise of museums accompanied and influenced the transformation of science from a "gentleman's hobby" to a paying profession. And she shows how the buildings themselves remain invaluable guides to the Victorians' ambiguous perception of the natural world. Through careful social and historical accounts of the buildings, their displays, and their reception, Yanni's work deepens our understanding of the emerging power of museums in Darwin's century.
Nature's museums : Victorian science & the architecture of display
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Focusing on the Oxford University Museum, the Edinburgh Museum of Science and Art, and the Natural History Museum of London, Yanni explores how such institutions reflected varying, often contradictory concepts of nature -- from the handiwork of God to a resource to be exploited. She explains how the rise of museums accompanied and influenced the transformation of science from a "gentleman's hobby" to a paying profession. And she shows how the buildings themselves remain invaluable guides to the Victorians' ambiguous perception of the natural world. Through careful social and historical accounts of the buildings, their displays, and their reception, Yanni's work deepens our understanding of the emerging power of museums in Darwin's century.
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livres
livres
Publication:
mars 2000, Baltimore
mars 2000, Baltimore
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livres
livres
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$60.00
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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(...)
Publication:
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.
Classification:
livres
livres
Publication:
avril 2000, Cambridge
avril 2000, Cambridge
