I write artist statements
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This little paperback consists of humorously inventive fictionalized artist statements. The recent explosion of interest in academic art programs around the world has led to a dramatic increase in overwritten, hyperbolic artist statements. ''I Write Artist Statements'' skewers popular art school clichés while describing impossible projects that simply could not exist off(...)
I write artist statements
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$22.50
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This little paperback consists of humorously inventive fictionalized artist statements. The recent explosion of interest in academic art programs around the world has led to a dramatic increase in overwritten, hyperbolic artist statements. ''I Write Artist Statements'' skewers popular art school clichés while describing impossible projects that simply could not exist off of the printed page.
Théorie de l’art
Zéropolis
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Las Vegas annonce le futur des métropoles : organisation de la ville en fonction des galeries marchandes et des parcs d'attractions, animation permanente, architecture thématique qui mélange la situation commerciale et l'imaginaire enfantin, etc. Une suite de courts textes qui sont autant de tableaux urbains.
Zéropolis
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Las Vegas annonce le futur des métropoles : organisation de la ville en fonction des galeries marchandes et des parcs d'attractions, animation permanente, architecture thématique qui mélange la situation commerciale et l'imaginaire enfantin, etc. Une suite de courts textes qui sont autant de tableaux urbains.
Théorie de l’urbanisme
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"A Moving Border: Alpine Cartographies of Climate Change" builds upon the Italian Limes project by Studio Folder, which was devised in 2014 to survey the fluctuations of the boundary line across the Alps in real time. The book charts the effects of climate change on geopolitical understandings of border and the cartographic methods used to represent them. Locating the(...)
Théorie de l’architecture
décembre 2018
A moving border: alpine cartographies of climate change
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"A Moving Border: Alpine Cartographies of Climate Change" builds upon the Italian Limes project by Studio Folder, which was devised in 2014 to survey the fluctuations of the boundary line across the Alps in real time. The book charts the effects of climate change on geopolitical understandings of border and the cartographic methods used to represent them. Locating the Italian condition alongside a longer political history of boundary making, the book brings together critical essays, visualizations, and unpublished documents from state archives. By examining the nexus of nationalism and cartography, "A Moving Border" details how borders are both material and imagined, and the ways global warming challenges Western conceptions of territory. Even more, it provides a blueprint for spatial intervention in a world where ecological processes are bound to dominate geopolitical affairs.
Théorie de l’architecture
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? "Slow Art" models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video,(...)
Slow art: the experience of looking, sacred images to James Turrell
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Americans, on average, spend between six and ten seconds with individual artworks in museums or galleries—hardly time enough. But how, in our culture of distraction, might we extend attention? "Slow Art" models sustained ways of looking, through encounters with various media both present and past—including photography, painting, sculpture, “living pictures,” film, video, digital and performance art—even light and space. Works by Diderot, Emma Hamilton, Oscar Wilde, Jeff Wall, Sam Taylor-Johnson, Andy Warhol, and Richard Serra, among others, shape a new and distinct aesthetic field. But rather than a collection of objects, slow art is participatory—it directly engages beholders to bring artworks to life. Against current orthodoxy, Arden Reed argues that, for contemporary viewers, the contemplation of slow art is akin to religious practices during the ages of faith.
Théorie de l’art
What is a border?
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The fall of the Berlin Wall, symbol of the bipolar order that emerged after World War II, seemed to inaugurate an age of ever fewer borders. The liberalization and integration of markets, the creation of vast free-trade zones, the birth of a new political and monetary union in Europe—all seemed to point in that direction. Only thirty years later, the tendency appears to(...)
What is a border?
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The fall of the Berlin Wall, symbol of the bipolar order that emerged after World War II, seemed to inaugurate an age of ever fewer borders. The liberalization and integration of markets, the creation of vast free-trade zones, the birth of a new political and monetary union in Europe—all seemed to point in that direction. Only thirty years later, the tendency appears to be quite the opposite. Talk of a wall with Mexico is only one sign among many that boundaries and borders are being revisited, expanding in number, and being reintroduced where they had virtually been abolished. Is this an out-of-step, deceptive last gasp of national sovereignty or the victory of the weight of history over the power of place?
Théorie de l’architecture
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In the wake of World War I, an international movement arose which aimed to protect architectural monuments in large numbers, and regardless of style, hoping not only to keep them safe from future conflicts, but also to make them worthy of protection from more quotidian forms of destruction. Examining key episodes in the history of this preservation effort, Lucia Allais(...)
Designs of destruction: the making of monuments in the twentieth century
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In the wake of World War I, an international movement arose which aimed to protect architectural monuments in large numbers, and regardless of style, hoping not only to keep them safe from future conflicts, but also to make them worthy of protection from more quotidian forms of destruction. Examining key episodes in the history of this preservation effort, Lucia Allais demonstrates how the group deployed the notion of culture to shape architectural sites, and how architecture in turn shaped the very idea of global culture.
Théorie de l’architecture
Birch
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For thousands of years they have given people of the northern forests and beyond raw materials in the form of leaves, twigs, branches and bark, as well as wood and sap, not simply to survive but to flourish and express their identity in practical and spiritual ways. Tough, waterproof and flexible, birch bark has been used for everything from basketry and clothing to(...)
Birch
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For thousands of years they have given people of the northern forests and beyond raw materials in the form of leaves, twigs, branches and bark, as well as wood and sap, not simply to survive but to flourish and express their identity in practical and spiritual ways. Tough, waterproof and flexible, birch bark has been used for everything from basketry and clothing to housing and transport, musical instruments and medicines, as well as a means to communicate and record sacred beliefs: some of our most ancient Buddhist texts and other historic documents are written on birch bark. Birches have not only shaped regional cultures – creating, for example, the Native American wigwam and the birch bark canoe – but continue to supply raw materials of global economic importance today. "Birch" explores the multiple uses of these versatile trees as well as the ancient beliefs and folklore with which they are associated.
Théorie du paysage
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"Monsters under Glass" explores our enduring fascination with hothouses and exotic blooms, from their rise in ancient times, through the Victorian vogue for plant collecting, to the vegetable monsters of twentieth-century science fiction and the movies, comics, and video games of the present day. Our interest in hothouses can be traced back to the Roman emperor Tiberius,(...)
Monsters under glass: a cultural history of hothouse flowers from 1850 to the present
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"Monsters under Glass" explores our enduring fascination with hothouses and exotic blooms, from their rise in ancient times, through the Victorian vogue for plant collecting, to the vegetable monsters of twentieth-century science fiction and the movies, comics, and video games of the present day. Our interest in hothouses can be traced back to the Roman emperor Tiberius, but it was only in the early nineteenth century that a boom in exotic plant collecting and new glasshouse technologies stimulated the imagination of novelists, poets, and artists, and the hothouse entered the creative language in a highly charged way. Decadent writers in England and Europe—including Charles Baudelaire and Oscar Wilde—transformed the hothouse from a functional object to a powerful metaphor of metropolitan life, sexuality, and being replete with a dark underside of decay and death; and of consciousness itself, nurtured and dissected under glass.
Théorie du paysage
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Velazquez. Poussin. Carvaggio. Bernini. Despite their disparate backgrounds, these greats of European Baroque art converged at one remarkable place in time: Rome, 1630. In response to the Protestant Reformation, the Catholic Church turned to these masters of Baroque art to craft works celebrating the glories of the heavens manifested on earth. And so, with glittering(...)
Rome, 1630: The horizon of early Baroque, and other essays
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Velazquez. Poussin. Carvaggio. Bernini. Despite their disparate backgrounds, these greats of European Baroque art converged at one remarkable place in time: Rome, 1630. In response to the Protestant Reformation, the Catholic Church turned to these masters of Baroque art to craft works celebrating the glories of the heavens manifested on earth. And so, with glittering monuments like Bernini's imposing bronze columns in St. Peter's Basilica, Rome, 1630 came to be the crossroads of seventeenth-century art, religion, and power. In ''Rome, 1630,'' the renowned French poet and critic Yves Bonnefoy devotes his attention to this single year in the Baroque period in European art. The inclusion of five additional essays on seventeenth-century art situate Bonnefoy's analysis within a lively debate on Baroque art and art history. Translator Hoyt Rogers's afterword pays homage to the author himself, situating ''Rome, 1630'' in Bonnefoy's productive career as a premier French poet and critic.
Théorie de l’art
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Pablo Picasso and Gertrude Stein. Few can be said to have had as broad an impact on European art in the twentieth century as these two cultural giants. Pablo Picasso, a pioneering visual artist, created a prolific and widely influential body of work. Gertrude Stein, an intellectual tastemaker, hosted the leading salon for artists and writers between the wars in her Paris(...)
Théorie de l’art
septembre 2018
Pablo Picasso and Gertrude Stein: correspondence
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Pablo Picasso and Gertrude Stein. Few can be said to have had as broad an impact on European art in the twentieth century as these two cultural giants. Pablo Picasso, a pioneering visual artist, created a prolific and widely influential body of work. Gertrude Stein, an intellectual tastemaker, hosted the leading salon for artists and writers between the wars in her Paris apartment, welcoming Henri Matisse, Ernest Hemingway, and Ezra Pound to weekly events at her home to discuss art and literature. It comes as no surprise, then, that Picasso and Stein were fast friends and frequent confidantes. Through Picasso and Stein’s casual notes and reflective letters, this volume of correspondence between the two captures Paris both in the golden age of the early twentieth century and in one of its darkest hours, the Nazi occupation through mentions of dinner parties, lovers, work, and the crises of the two world wars.
Théorie de l’art