3086 Résultats
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund (...)
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund (...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
janvier 2000, Los Angeles
janvier 2000, Los Angeles
Titre:
The victory of the new building style
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund and led an articulate and well-orchestrated campaign in support of the Modern Movement. A friend and colleague of Lewis Mumford, he immigrated in 1934 to the United States, where he taught courses on city planning and housing at Dartmouth College and the University of Buffalo. "The Victory of the New Building Style" (1927)—his principal theoretical work in German and the precursor to Modern Building, which he wrote in English—presents a revisionist conception of style that places equal emphasis on form and function. Behrendt calls for architects to return to basic geometries and to articulate explicitly the new social and economic realities. Now available in English for the first time, this incisive treatise boldly advocates international modernism to the general public. Introduction by Detlef Mertins and translation by Harry Francis Mallgrave
The victory of the new building style
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The architect and theorist Walter Curt Behrendt (1884-1945) worked on public housing and urban development as a designer and administrator for the German government after World War I. From 1925 to 1926 he edited the journal "Die Form" for the German Werkbund and led an articulate and well-orchestrated campaign in support of the Modern Movement. A friend and colleague of Lewis Mumford, he immigrated in 1934 to the United States, where he taught courses on city planning and housing at Dartmouth College and the University of Buffalo. "The Victory of the New Building Style" (1927)—his principal theoretical work in German and the precursor to Modern Building, which he wrote in English—presents a revisionist conception of style that places equal emphasis on form and function. Behrendt calls for architects to return to basic geometries and to articulate explicitly the new social and economic realities. Now available in English for the first time, this incisive treatise boldly advocates international modernism to the general public. Introduction by Detlef Mertins and translation by Harry Francis Mallgrave
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livres
livres
Publication:
janvier 2000, Los Angeles
janvier 2000, Los Angeles
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Titre:
Antoni Gaudí, 1852 - 1926
Antoni Gaudí, 1852 - 1926
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Antoni Gaudí (1852–1928) was a builder by instinct and by practice, fanciful and baroque in his sensibility, in love with the bright colours and plastic forms of the Mediterranean tradition. Despite his considerable contributions, Gaudí was an isolated figure in the architecture of the modern era. Critics were slow to recognize the prophetic value of his work, owing to(...)
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Antoni Gaudí (1852–1928) was a builder by instinct and by practice, fanciful and baroque in his sensibility, in love with the bright colours and plastic forms of the Mediterranean tradition. Despite his considerable contributions, Gaudí was an isolated figure in the architecture of the modern era. Critics were slow to recognize the prophetic value of his work, owing to(...)
Titre:
Antoni Gaudí, 1852 - 1926
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Antoni Gaudí (1852–1928) was a builder by instinct and by practice, fanciful and baroque in his sensibility, in love with the bright colours and plastic forms of the Mediterranean tradition. Despite his considerable contributions, Gaudí was an isolated figure in the architecture of the modern era. Critics were slow to recognize the prophetic value of his work, owing to the difficulty in reconciling it with the development of the Modern Movement. Gaudí invented a new form of modernism that combined elements of art nouveau, Catalan nationalism, Gothic Revival and his own relentlessly original imagination. His eclectic experience was made possible by special historical circumstances such as the economic prosperity of Barcelona and the existence of highly skilled craftsmen in Catalonia. This volume covers Gaudí’s work in systematic fashion, from the Güell Palace to the park of the same name, and finally to his unfinished masterpiece, the church of the Sagrada Familia. Author Juan José Lahuerta devotes an attentive critical re-examination of the architect’s work through a thorough analysis of his designs and writings.
Antoni Gaudí, 1852 - 1926
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Antoni Gaudí (1852–1928) was a builder by instinct and by practice, fanciful and baroque in his sensibility, in love with the bright colours and plastic forms of the Mediterranean tradition. Despite his considerable contributions, Gaudí was an isolated figure in the architecture of the modern era. Critics were slow to recognize the prophetic value of his work, owing to the difficulty in reconciling it with the development of the Modern Movement. Gaudí invented a new form of modernism that combined elements of art nouveau, Catalan nationalism, Gothic Revival and his own relentlessly original imagination. His eclectic experience was made possible by special historical circumstances such as the economic prosperity of Barcelona and the existence of highly skilled craftsmen in Catalonia. This volume covers Gaudí’s work in systematic fashion, from the Güell Palace to the park of the same name, and finally to his unfinished masterpiece, the church of the Sagrada Familia. Author Juan José Lahuerta devotes an attentive critical re-examination of the architect’s work through a thorough analysis of his designs and writings.
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livres
livres
Publication:
octobre 2003, Milan
octobre 2003, Milan
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
Titre:
Grave Matters
Grave Matters
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'Cemeteries', writes Mark C. Taylor, 'are where I go to commune with "my" ghosts. The journey to the cemetery is always solitary even when I am with people who are closest to me. In the graveyard, the we is dispersed and the I stripped bare.' In "Grave Matters", Taylor's ghosts become our own. His thoughtful, poignant essay interweaves personal narrative, historical(...)
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'Cemeteries', writes Mark C. Taylor, 'are where I go to commune with "my" ghosts. The journey to the cemetery is always solitary even when I am with people who are closest to me. In the graveyard, the we is dispersed and the I stripped bare.' In "Grave Matters", Taylor's ghosts become our own. His thoughtful, poignant essay interweaves personal narrative, historical(...)
Titre:
Grave Matters
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'Cemeteries', writes Mark C. Taylor, 'are where I go to commune with "my" ghosts. The journey to the cemetery is always solitary even when I am with people who are closest to me. In the graveyard, the we is dispersed and the I stripped bare.' In "Grave Matters", Taylor's ghosts become our own. His thoughtful, poignant essay interweaves personal narrative, historical analysis, cultural commentary and philosophical reflection. Dietrich Christian Lammerts's photographs show us the graves of the artists, architects, writers, philosophers and musicians who shaped Western culture; at once beautiful and disturbing, they suggest an alternative history of modernism and its precursors. Grave Matters raises difficult questions: What place do the modern greats have in the postmodern age? Who decided where and how they would be buried? Who wrote their epitaphs? What do their deaths, and their graves, tell us about their lives and suggest about our own? The words and images of Grave Matters inscribe the future that we all face, and to ponder this memento mori is to meet life anew.
Grave Matters
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'Cemeteries', writes Mark C. Taylor, 'are where I go to commune with "my" ghosts. The journey to the cemetery is always solitary even when I am with people who are closest to me. In the graveyard, the we is dispersed and the I stripped bare.' In "Grave Matters", Taylor's ghosts become our own. His thoughtful, poignant essay interweaves personal narrative, historical analysis, cultural commentary and philosophical reflection. Dietrich Christian Lammerts's photographs show us the graves of the artists, architects, writers, philosophers and musicians who shaped Western culture; at once beautiful and disturbing, they suggest an alternative history of modernism and its precursors. Grave Matters raises difficult questions: What place do the modern greats have in the postmodern age? Who decided where and how they would be buried? Who wrote their epitaphs? What do their deaths, and their graves, tell us about their lives and suggest about our own? The words and images of Grave Matters inscribe the future that we all face, and to ponder this memento mori is to meet life anew.
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livres
livres
Publication:
juin 2002, London
juin 2002, London
Sujet:
Bouffe
Bouffe
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livres
livres
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$56.00
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This is the first publication on the Prague Werkbund Housing Estate "Baba", a symbol of architectural Modernism in the Czech Republic. Up until the fall of the Iron Curtain, the housing estate "Baba" in Prague was a little-known tip. This was the(...)
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This is the first publication on the Prague Werkbund Housing Estate "Baba", a symbol of architectural Modernism in the Czech Republic. Up until the fall of the Iron Curtain, the housing estate "Baba" in Prague was a little-known tip. This was the(...)
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Baba : the Werkbund housing estate Prague
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This is the first publication on the Prague Werkbund Housing Estate "Baba", a symbol of architectural Modernism in the Czech Republic. Up until the fall of the Iron Curtain, the housing estate "Baba" in Prague was a little-known tip. This was the last building exhibition which the Werkbund set up in Europe in 1932 and symbolises an entire era, vividly depicting Modern Architecture in the Czech Republic, which has gained growing international recognition since 1989. Three generations of architects were active here; the older generation, still influenced by Cubism, include Janak and Gocar; the middle generation, whose works were purist and functionalist, include Linhart and Stary; and the younger generation, for example, Ladislav Zak, who with their sweeping forms wished to distance themselves from 'white functionalism'. With copious, unpublished source material, this book analyses for the first time the particular status which the Prague Housing Estate has in architectural history. It addresses architectural and sociopolitical topics, documents the individual projects and looks at the circumstances of the private clients.
Baba : the Werkbund housing estate Prague
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This is the first publication on the Prague Werkbund Housing Estate "Baba", a symbol of architectural Modernism in the Czech Republic. Up until the fall of the Iron Curtain, the housing estate "Baba" in Prague was a little-known tip. This was the last building exhibition which the Werkbund set up in Europe in 1932 and symbolises an entire era, vividly depicting Modern Architecture in the Czech Republic, which has gained growing international recognition since 1989. Three generations of architects were active here; the older generation, still influenced by Cubism, include Janak and Gocar; the middle generation, whose works were purist and functionalist, include Linhart and Stary; and the younger generation, for example, Ladislav Zak, who with their sweeping forms wished to distance themselves from 'white functionalism'. With copious, unpublished source material, this book analyses for the first time the particular status which the Prague Housing Estate has in architectural history. It addresses architectural and sociopolitical topics, documents the individual projects and looks at the circumstances of the private clients.
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livres
livres
Publication:
juillet 1999, Basel
juillet 1999, Basel
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livres
livres
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$60.00
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of (...)
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of (...)
Titre:
Architecture and modernity : a critique
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of this rich tradition, appear naive and unbalanced in comparison. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge this gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. The book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently.
Architecture and modernity : a critique
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Critical theories such as those of the Frankfurt School of the twenties and thirties gave rise to a complex and sophisticated critique of modernity and modernism. The history and theory of twentieth-century architecture, which developed rather independently of this rich tradition, appear naive and unbalanced in comparison. In this exploration of the relationship between modernity, dwelling, and architecture, Hilde Heynen attempts to bridge this gap between the discourse of the modern movement and cultural theories of modernity. On one hand, she discusses architecture from the perspective of critical theory, and on the other she modifies positions within critical theory by linking them with architecture. She assesses architecture as a cultural field that structures daily life and that embodies major contradictions inherent in modernity, arguing that architecture nonetheless has a certain capacity to adopt a critical stance vis-à-vis modernity. The book provides architectural students with an introduction to the discourse of critical theory. The subchapters on Walter Benjamin, Ernst Bloch, Theodor Adorno, and the Venice School (Tafuri, Dal Co, Cacciari) can be studied independently.
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livres
livres
Publication:
novembre 1998, Cambridge, Mass.
novembre 1998, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
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Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important(...)
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Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
septembre 2000, Cambridge, Mass.
septembre 2000, Cambridge, Mass.
Titre:
Photography in Boston : 1955-1985
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Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White. The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography. The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.
Photography in Boston : 1955-1985
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Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White. The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography. The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.
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livres
livres
Publication:
septembre 2000, Cambridge, Mass.
septembre 2000, Cambridge, Mass.
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Cities design & evolution
Cities design & evolution
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Why does modern planning sometimes create urban environments that are less attractive and functional than the 'organic urbanism' of traditional cities? "Cities Design and Evolution" takes up the challenge of this question, investigating 'how cities are put together', both in the sense of how the parts are organised in relation to the whole, and how they are created or(...)
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Why does modern planning sometimes create urban environments that are less attractive and functional than the 'organic urbanism' of traditional cities? "Cities Design and Evolution" takes up the challenge of this question, investigating 'how cities are put together', both in the sense of how the parts are organised in relation to the whole, and how they are created or(...)
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Cities design & evolution
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Why does modern planning sometimes create urban environments that are less attractive and functional than the 'organic urbanism' of traditional cities? "Cities Design and Evolution" takes up the challenge of this question, investigating 'how cities are put together', both in the sense of how the parts are organised in relation to the whole, and how they are created or evolve over time."Cities Design and Evolution" offers an engaging and original narrative that interprets planning philosophies from Modernism to New Urbanism, organic theories from Patrick Geddes to Le Corbusier, and evolutionary thinking from Charles Darwin to Richard Dawkins. The book develops a new evolutionary perspective that recognises both the 'designed' and 'organic' nature of cities, and provides a rationale and impetus for fresh approaches to urban planning and design. In what is the first book to significantly apply modern evolutionary thinking to urbanism, "Cities Design and Evolution" promises to stimulate thought, debate and action concerning the nature of cities and future urban planning. The book should appeal to all who are interested in cities, in design and in evolution.
Cities design & evolution
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$86.95
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Why does modern planning sometimes create urban environments that are less attractive and functional than the 'organic urbanism' of traditional cities? "Cities Design and Evolution" takes up the challenge of this question, investigating 'how cities are put together', both in the sense of how the parts are organised in relation to the whole, and how they are created or evolve over time."Cities Design and Evolution" offers an engaging and original narrative that interprets planning philosophies from Modernism to New Urbanism, organic theories from Patrick Geddes to Le Corbusier, and evolutionary thinking from Charles Darwin to Richard Dawkins. The book develops a new evolutionary perspective that recognises both the 'designed' and 'organic' nature of cities, and provides a rationale and impetus for fresh approaches to urban planning and design. In what is the first book to significantly apply modern evolutionary thinking to urbanism, "Cities Design and Evolution" promises to stimulate thought, debate and action concerning the nature of cities and future urban planning. The book should appeal to all who are interested in cities, in design and in evolution.
Classification:
livres
livres
Publication:
janvier 2009, London, New York
janvier 2009, London, New York
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
Titre:
Eero Saarinen
Eero Saarinen
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$110.00
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This book is a timely portrait of the work of an architect who expanded the vocabulary of modern architecture. Eero Saarinen and Balthazar Korab constitute a unique team in the history of architecture: Saarinen, the mid-twentieth-century architect who challenged the architectural conventions of his time, and Korab, an architect in Saarinen's office whose perceptive(...)
$110.00
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This book is a timely portrait of the work of an architect who expanded the vocabulary of modern architecture. Eero Saarinen and Balthazar Korab constitute a unique team in the history of architecture: Saarinen, the mid-twentieth-century architect who challenged the architectural conventions of his time, and Korab, an architect in Saarinen's office whose perceptive(...)
Sujet:
Architecture, monographies
Architecture, monographies
Publication:
novembre 2007, New York, London
novembre 2007, New York, London
Titre:
Eero Saarinen
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$110.00
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This book is a timely portrait of the work of an architect who expanded the vocabulary of modern architecture. Eero Saarinen and Balthazar Korab constitute a unique team in the history of architecture: Saarinen, the mid-twentieth-century architect who challenged the architectural conventions of his time, and Korab, an architect in Saarinen's office whose perceptive photographs reveal the brilliance of Saarinen's work. This visual sourcebook illustrates nineteen Saarinen commissions in photographs drawn from Korab's archive, providing multiple views of the buildings themselves as well as views of their construction and of architectural models that were critical to their design. Images of Saarinen's office and home provide personal ambience, and an introductory essay positions Saarinen's work within the broader context of his time. Seen in detail, such earlier work as the General Motors Technical Center (1948-56) or the Miller house (1953-57) show departures from orthodox modernism. Saarinen's assured handling of new materials and new building functions impart lasting value to his work, as exemplified by the iconic Trans World Airlines Terminal (1956-62) and Dulles International Airport (1958-63).
Eero Saarinen
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$110.00
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This book is a timely portrait of the work of an architect who expanded the vocabulary of modern architecture. Eero Saarinen and Balthazar Korab constitute a unique team in the history of architecture: Saarinen, the mid-twentieth-century architect who challenged the architectural conventions of his time, and Korab, an architect in Saarinen's office whose perceptive photographs reveal the brilliance of Saarinen's work. This visual sourcebook illustrates nineteen Saarinen commissions in photographs drawn from Korab's archive, providing multiple views of the buildings themselves as well as views of their construction and of architectural models that were critical to their design. Images of Saarinen's office and home provide personal ambience, and an introductory essay positions Saarinen's work within the broader context of his time. Seen in detail, such earlier work as the General Motors Technical Center (1948-56) or the Miller house (1953-57) show departures from orthodox modernism. Saarinen's assured handling of new materials and new building functions impart lasting value to his work, as exemplified by the iconic Trans World Airlines Terminal (1956-62) and Dulles International Airport (1958-63).
Classification:
livres
livres
Publication:
novembre 2007, New York, London
novembre 2007, New York, London
Sujet:
Architecture, monographies
Architecture, monographies
Classification:
livres
livres
Titre:
Dan Flavin : new light
Dan Flavin : new light
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In making light his primary medium, Dan Flavin (1933–1996) established himself as one of the most innovative and significant artists of the minimalist movement. A new generation encountered Flavin’s work through the critically acclaimed exhibition "Dan Flavin : a retrospective", which opened in October 2004 at the National Gallery of Art, Washington. "Dan Flavin : new(...)
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In making light his primary medium, Dan Flavin (1933–1996) established himself as one of the most innovative and significant artists of the minimalist movement. A new generation encountered Flavin’s work through the critically acclaimed exhibition "Dan Flavin : a retrospective", which opened in October 2004 at the National Gallery of Art, Washington. "Dan Flavin : new(...)
Publication:
octobre 2006, New Haven, London
octobre 2006, New Haven, London
Titre:
Dan Flavin : new light
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In making light his primary medium, Dan Flavin (1933–1996) established himself as one of the most innovative and significant artists of the minimalist movement. A new generation encountered Flavin’s work through the critically acclaimed exhibition "Dan Flavin : a retrospective", which opened in October 2004 at the National Gallery of Art, Washington. "Dan Flavin : new light" includes essays that respond to this exhibition and to the renewed interest in Flavin’s work and its place in 20th-century art. In this volume, six leading scholars of contemporary art consider the ambiguities and multiple resonances of Flavin’s light works. Each addresses the ontological complexity of the work –object-based, yet "situational", and painterly in its deployment of colored light – within the insistently sculptural world of minimalism. The book’s contributors interpret this tension by exploring Flavin’s early assemblages, the relationship of drawing to his installation practice, the specificity of his materials and their operation in actual space, and the openly ambivalent place of Flavin’s work within the history of late modernism.
Dan Flavin : new light
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In making light his primary medium, Dan Flavin (1933–1996) established himself as one of the most innovative and significant artists of the minimalist movement. A new generation encountered Flavin’s work through the critically acclaimed exhibition "Dan Flavin : a retrospective", which opened in October 2004 at the National Gallery of Art, Washington. "Dan Flavin : new light" includes essays that respond to this exhibition and to the renewed interest in Flavin’s work and its place in 20th-century art. In this volume, six leading scholars of contemporary art consider the ambiguities and multiple resonances of Flavin’s light works. Each addresses the ontological complexity of the work –object-based, yet "situational", and painterly in its deployment of colored light – within the insistently sculptural world of minimalism. The book’s contributors interpret this tension by exploring Flavin’s early assemblages, the relationship of drawing to his installation practice, the specificity of his materials and their operation in actual space, and the openly ambivalent place of Flavin’s work within the history of late modernism.
Classification:
livres
livres
Publication:
octobre 2006, New Haven, London
octobre 2006, New Haven, London
Classification:
livres
livres
Titre:
Machine art, 1934
Machine art, 1934
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$49.95
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In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass(...)
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In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass(...)
Titre:
Machine art, 1934
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Résumé:
In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass production. Telling the story of this popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum’s director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey’s insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.
Machine art, 1934
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Prix:
$49.95
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Résumé:
In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass production. Telling the story of this popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum’s director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey’s insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.
Classification:
livres
livres
Publication:
avril 2012
avril 2012
