35982 Résultats
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth(...)
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth(...)
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
Publication:
octobre 2002, Cambridge, Massachusetts
octobre 2002, Cambridge, Massachusetts
Titre:
The CIAM discourse on urbanism, 1928-1960
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth century, such as Le Corbusier, Walter Gropius, and Richard Neutra, but also hundreds of others who looked to it for doctrines on how to shape the urban environment in a rapidly changing world. In this first book-length history of the organization, architectural historian Eric Mumford focuses on CIAM's discourse to trace the development and promotion of its influential concept of the "Functional City." He views official doctrines and pronouncements in relation to the changing circumstances of the members, revealing how CIAM in the 1930s began to resemble a kind of syndicalist party oriented toward winning over any suitable authority, regardless of political orientation. Mumford also looks at CIAM's efforts after World War II to find a new basis for a socially engaged architecture and describes the attempts by the group of younger members called Team 10 to radically revise CIAM's mission in the 1950s, efforts that led to the organization's dissolution in 1959.
The CIAM discourse on urbanism, 1928-1960
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CIAM (Congrès Internationaux d'Architecture Moderne), founded in Switzerland in 1928, was an avant-garde association of architects intended to advance both modernism and internationalism in architecture. CIAM saw itself as an elite group revolutionizing architecture to serve the interests of society. Its members included some of the best-known architects of the twentieth century, such as Le Corbusier, Walter Gropius, and Richard Neutra, but also hundreds of others who looked to it for doctrines on how to shape the urban environment in a rapidly changing world. In this first book-length history of the organization, architectural historian Eric Mumford focuses on CIAM's discourse to trace the development and promotion of its influential concept of the "Functional City." He views official doctrines and pronouncements in relation to the changing circumstances of the members, revealing how CIAM in the 1930s began to resemble a kind of syndicalist party oriented toward winning over any suitable authority, regardless of political orientation. Mumford also looks at CIAM's efforts after World War II to find a new basis for a socially engaged architecture and describes the attempts by the group of younger members called Team 10 to radically revise CIAM's mission in the 1950s, efforts that led to the organization's dissolution in 1959.
Classification:
livres
livres
Publication:
octobre 2002, Cambridge, Massachusetts
octobre 2002, Cambridge, Massachusetts
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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$27.95
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Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers(...)
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Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers(...)
Publication:
octobre 2002, Cambridge, Massachusetts
octobre 2002, Cambridge, Massachusetts
Titre:
Clean new world : culture, politics, and graphic design
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Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers produce. Lavin shows how design fits into larger questions of power, democracy, and communication. Many corporate clients instruct designers to convey order and clarity in order to give their companies the look of a clean new world. But since designers cannot clean up messy reality, Lavin shows, they often end up simply veiling it. Lacking the power to influence the content of their commercial work, many designers work simultaneously on other, more fulfilling projects. Lavin is especially interested in the graphic designer’s role in shaping cultural norms. She examines the anti-Nazi propaganda of John Heartfield, the modernist utopian design of Kurt Schwitters and the neue ring werbegestalter, the alternative images of women by studio ringl + pit, the activist work of such contemporary designers as Marlene McCarty and Sheila Levrant de Bretteville, and the Internet innovations of David Steuer and others. Throughout the book, Lavin asks how designers can expand the pleasure, democracy, and vitality of communication.
Clean new world : culture, politics, and graphic design
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Résumé:
Our culture is dominated by the visual. Yet most writing on design reflects a narrow preoccupation with products, biographies, and design influences. Maud Lavin approaches design from the broader field of visual culture criticism, asking challenging questions about about who really has a voice in the culture and what unseen influences affect the look of things designers produce. Lavin shows how design fits into larger questions of power, democracy, and communication. Many corporate clients instruct designers to convey order and clarity in order to give their companies the look of a clean new world. But since designers cannot clean up messy reality, Lavin shows, they often end up simply veiling it. Lacking the power to influence the content of their commercial work, many designers work simultaneously on other, more fulfilling projects. Lavin is especially interested in the graphic designer’s role in shaping cultural norms. She examines the anti-Nazi propaganda of John Heartfield, the modernist utopian design of Kurt Schwitters and the neue ring werbegestalter, the alternative images of women by studio ringl + pit, the activist work of such contemporary designers as Marlene McCarty and Sheila Levrant de Bretteville, and the Internet innovations of David Steuer and others. Throughout the book, Lavin asks how designers can expand the pleasure, democracy, and vitality of communication.
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livres
livres
Publication:
octobre 2002, Cambridge, Massachusetts
octobre 2002, Cambridge, Massachusetts
Classification:
livres
livres
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement(...)
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement(...)
Publication:
janvier 2003, Cambridge, Mass.
janvier 2003, Cambridge, Mass.
Titre:
Conceptual art and the politics of publicity
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
Conceptual art and the politics of publicity
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Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
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livres
livres
Publication:
janvier 2003, Cambridge, Mass.
janvier 2003, Cambridge, Mass.
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livres
livres
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Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from(...)
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Résumé:
Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from(...)
Sujet:
Modernisme
Modernisme
Publication:
décembre 2002, Cambridge, Mass.
décembre 2002, Cambridge, Mass.
Titre:
Primary documents : a sourcebook for Eastern and Central European art since the 1950s
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Résumé:
Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language. The source materials presented--almost all of them previously untranslated into English--are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.
Primary documents : a sourcebook for Eastern and Central European art since the 1950s
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$47.95
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Résumé:
Although a number of books have told the story of modern and contemporary art in Eastern and Central Europe, missing from these accounts have been the sources themselves. This book, the result of years of research by an international team of artists, curators, editors, translators, and scholars working with the Museum of Modern Art, presents primary documents drawn from the artistic archives of Eastern and Central Europe during the second half of the twentieth century. Because the practice of criticism in this region was for many years almost completely suppressed, the writings of the artists themselves often fulfill a critical as well as an aesthetic and ideological function. The manifestoes, photo essays, proposals, scripts, and other writings assembled here comprise the first anthology of this material in any language. The source materials presented--almost all of them previously untranslated into English--are from Bulgaria, Croatia, Czech Republic, Estonia, Hungary, Latvia, Macedonia, Poland, Romania, Russia, Serbia, Slovakia, and Slovenia. The book is introduced by Ilya Kabakov. Each chapter is preceded by a brief introduction and is followed by a case study that chronicles an event or the creation or reception of an artwork, illustrating the issues raised in that chapter.
Classification:
livres
livres
Publication:
décembre 2002, Cambridge, Mass.
décembre 2002, Cambridge, Mass.
Sujet:
Modernisme
Modernisme
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livres
livres
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$72.00
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s(...)
$72.00
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s(...)
Publication:
décembre 2002, Cambridge / London
décembre 2002, Cambridge / London
Titre:
The glass state : the technology of the spectacle - Paris, 1981-1998
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s program of Grands Projets. The Grands Projets provide a rare opportunity to study a finite set of buildings constructed of similar materials, in the same time period, in a specific urban landscape, and with related ideological missions. Fierro employs a "discourse of the detail," in which the smallest architectural detail manifests the political, theoretical, and urban contexts of the building’s design and construction. She examines the paradox of the most pared down architectural configurations being used to support the most complex meanings. Intrinsic to Mitterrand’s glass buildings in Paris, for example, is a political concept: the metaphor of accessibility as a means of breaking open cultural institutions previously closed to the public. In addition to the structures of the Grands Projets--the Institut du Monde Arabe, the Grande and Petite Pyramides du Louvre, the glass greenhouses at utopian park projects at La Villette and Andre Citroën, and the Bibliothèque nationale de France--Fierro discusses the Fondation Cartier and two precedent structures, the Centre Georges Pompidou and the Eiffel Tower.
The glass state : the technology of the spectacle - Paris, 1981-1998
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From the Gothic to the contemporary, glass has transformed the structural, formal, and philosophical principles of architecture. In The "Glass state", Annette Fierro views the many meanings of transparency in architecture. Specifically, she analyzes the transparent monumental buildings that were built in Paris between 1981 and 1998 as part of François Mitterrand’s program of Grands Projets. The Grands Projets provide a rare opportunity to study a finite set of buildings constructed of similar materials, in the same time period, in a specific urban landscape, and with related ideological missions. Fierro employs a "discourse of the detail," in which the smallest architectural detail manifests the political, theoretical, and urban contexts of the building’s design and construction. She examines the paradox of the most pared down architectural configurations being used to support the most complex meanings. Intrinsic to Mitterrand’s glass buildings in Paris, for example, is a political concept: the metaphor of accessibility as a means of breaking open cultural institutions previously closed to the public. In addition to the structures of the Grands Projets--the Institut du Monde Arabe, the Grande and Petite Pyramides du Louvre, the glass greenhouses at utopian park projects at La Villette and Andre Citroën, and the Bibliothèque nationale de France--Fierro discusses the Fondation Cartier and two precedent structures, the Centre Georges Pompidou and the Eiffel Tower.
Classification:
livres
livres
Publication:
décembre 2002, Cambridge / London
décembre 2002, Cambridge / London
Classification:
livres
livres
Prix:
$63.95
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in(...)
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
Titre:
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Robert Smithson : learning from New Jersey and elsewhere
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Robert Smithson (1938–1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In "Robert Smithson", Ann Reynolds elucidates the complexity of Smithson’s work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson’s widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson’s working life--magazines, postcards from other artists, notebooks, and perhaps most important, his library--from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson’s art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds’s analysis is Smithson’s fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again, alone and with fellow artists, to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Classification:
livres
livres
Publication:
novembre 2002, Cambridge, Mass.
novembre 2002, Cambridge, Mass.
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livres
livres
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the(...)
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Résumé:
In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the(...)
Sujet:
Gratte-ciels
Gratte-ciels
Publication:
novembre 2002, Cambridge / London
novembre 2002, Cambridge / London
Titre:
Tower and office : from modernist theory to contentemporary practice
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods. The authors examine the ways these technologies have been inflected over the last half century by more subjective and integrated processes of spatial organization.
Tower and office : from modernist theory to contentemporary practice
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In "Tower and office", Spanish architects Inaki Abalos and Juan Herreros look at the role and impact of advanced building technologies in American architecture since World War II. The war, they claim, marked the end of the first cycle of modernism, challenging the belief that technological progress alone could produce a perpetually better future. At the same time, the war was the source of powerful new structural models and construction methods. The authors examine the ways these technologies have been inflected over the last half century by more subjective and integrated processes of spatial organization.
Classification:
livres
livres
Publication:
novembre 2002, Cambridge / London
novembre 2002, Cambridge / London
Sujet:
Gratte-ciels
Gratte-ciels
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livres
livres
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$47.95
(disponible en magasin)
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless(...)
$47.95
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Résumé:
"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
octobre 2002, Cambridge, Mass.
octobre 2002, Cambridge, Mass.
Titre:
Vitruvius: Writing the body of architecture
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless source of valuable metaphors. Departing from both perspectives, Indra Kagis McEwen examines the work’s meaning and significance in its own time. Vitruvius dedicated De architectura to his patron Augustus Caesar, the first Roman emperor, whose rise to power inspired its composition near the end of the first century B.C. McEwen argues that the imperial project of world dominion shaped Vitruvius’s purpose in writing what he calls "the whole body of architecture." Specifically, Vitruvius’s aim was to present his discipline as the means for making the emperor’s body congruent with the imagined body of the world he would rule.
Vitruvius: Writing the body of architecture
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"Vitruvius’s De architectura" is the only major work on architecture to survive from classical antiquity, and until the eighteenth century it was the text to which all other architectural treatises referred. While European classicists have focused on the factual truth of the text itself, English-speaking architects and architectural theorists have viewed it as a timeless source of valuable metaphors. Departing from both perspectives, Indra Kagis McEwen examines the work’s meaning and significance in its own time. Vitruvius dedicated De architectura to his patron Augustus Caesar, the first Roman emperor, whose rise to power inspired its composition near the end of the first century B.C. McEwen argues that the imperial project of world dominion shaped Vitruvius’s purpose in writing what he calls "the whole body of architecture." Specifically, Vitruvius’s aim was to present his discipline as the means for making the emperor’s body congruent with the imagined body of the world he would rule.
Classification:
livres
livres
Publication:
octobre 2002, Cambridge, Mass.
octobre 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Classification:
livres
livres
Titre:
The spirit of terrorism
The spirit of terrorism
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$19.00
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
$19.00
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Résumé:
«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
septembre 2002, London / New York
septembre 2002, London / New York
Titre:
The spirit of terrorism
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$19.00
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
The spirit of terrorism
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«In dealing all the cards to itself, the system forced the Other to change the rules of the game. And the new rules are ferocious, because the game is ferocious.»
Classification:
livres
livres
Publication:
septembre 2002, London / New York
septembre 2002, London / New York
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$31.50
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Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic(...)
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Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic(...)
Sujet:
Arch Moyen-Orient
Arch Moyen-Orient
Publication:
novembre 2002, Durham, N.C.
novembre 2002, Durham, N.C.
Titre:
Orientalism's interlocutors : painting, architecture and photography
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Résumé:
Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, upon examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints—especially women‘s—within Western Orientalism decentered and destabilized colonial authority Among the artists considered are the Algerian painters Azouoau Mammeri and Mohammed Racim; Turkish painter Osman Hamdi Bey; British landscape painter Barbara Bodichon; and the French painter Henri Regnault.
Orientalism's interlocutors : painting, architecture and photography
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Prix:
$31.50
(disponible sur commande)
Résumé:
Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and Westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, upon examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints—especially women‘s—within Western Orientalism decentered and destabilized colonial authority Among the artists considered are the Algerian painters Azouoau Mammeri and Mohammed Racim; Turkish painter Osman Hamdi Bey; British landscape painter Barbara Bodichon; and the French painter Henri Regnault.
Classification:
livres
livres
Publication:
novembre 2002, Durham, N.C.
novembre 2002, Durham, N.C.
Sujet:
Arch Moyen-Orient
Arch Moyen-Orient
