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With the exception of poster art, French graphic design has enjoyed little recognition on the international stage – until now. This new book tells the story of the development of design in the France. French graphic design has thrived on a multitude of external influences from places as far afield as Russia, Switzerland, Poland, Germany and Hungary. The designers here(...)
The story of graphic design in France
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With the exception of poster art, French graphic design has enjoyed little recognition on the international stage – until now. This new book tells the story of the development of design in the France. French graphic design has thrived on a multitude of external influences from places as far afield as Russia, Switzerland, Poland, Germany and Hungary. The designers here are legendary artists, actually some of the world’s most revered: French artists and artists who made Paris their home - Man Ray, Brassai, Cassandre, Leger, Duchamp, Mallarme to name just a few. "Graphic design in France" documents the emergence of graphic design as a culture in France and illustrates how it has come to the fore in recent years with a great burst of vitality in poster art, typography, editorial design, magazine design, information graphics, multimedia and television. This book places the tradition of French graphic design amidst the greater aesthetic languages of fine art, iconography, urban architecture, sculpture, communication art, fashion, literature, and much more.
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"Dutch architects in booming China" presents more than 80 projects (also on show in the exhibition of the same name) which are lavishly illustrated and described in detail. Together, they present a fascinating and unique picture of Dutch design energy for China. Among them are: the State Television in Beijing (Rem Koolhaas, OMA), Guang Dong Museum in Guangzhou (UN(...)
décembre 2005, Amsterdam
Dutch architects in booming China
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"Dutch architects in booming China" presents more than 80 projects (also on show in the exhibition of the same name) which are lavishly illustrated and described in detail. Together, they present a fascinating and unique picture of Dutch design energy for China. Among them are: the State Television in Beijing (Rem Koolhaas, OMA), Guang Dong Museum in Guangzhou (UN Studio), Sleeping Dragon in Hong Kong (Atelier Dutch), Xintian International Kindergarten (NEXT Architects) and Guo Tai Bridge in Tianjin (Verburg Hoogendijk Architecten). The projects are accompanied by four essays, written by China experts. The regional planner Ton Kreukels describes the history of urban development in China. The Shanghai-based architect Kok-Meng Tan discusses Chinese architecture and urbanism at the present moment and takes a look behind the scenes of Chinese architectural practice. Marlies Buurman records the experiences of the more than thirty Dutch offices working in China, and Maarten Kloos gives an introduction to the projects by Dutch architects who are working worldwide.
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In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the(...)
Richard Prince: untitled (couple)
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In Richard Prince's 1977 work Untitled (couple), difference mixes uncannily with sameness. We can't quite tell whether the shiny couple we see is human or android; their clothing seems curiously out of date. Why do they fascinate us? What is it about their typicality that produces an impression of strangeness? Michael Newman explores Prince's work and his revival of the image through photography—rephotographed reproduced photographs—after the impasses of conceptualism. Newman examines the relation of Prince's work to images appearing in illustrated magazines, advertising, and television during the artist's formative years and argues that the vintage TV series The Twilight Zone is crucial to understanding Prince's use of images in his work. Michael Newman is Associate Professor of Art History, Theory, and Criticism in the School of the Art Institute of Chicago. He has published in ArtForum, Art in America, Parachute, and other journals and is coeditor of the book Rewriting Conceptual Art.
Théorie de l’art
Office (Object Lessons)
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From its origins in the late 19th century to its decline in the 21st, Sheila Liming's ''Office'' narrates a cultural history of a place that has arguably been the primary site of labor in the postmodern economy. During the post-war decades of the 20th century, the office rose to prominence in culture, achieving an iconic status that is reflected in television, film,(...)
Office (Object Lessons)
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From its origins in the late 19th century to its decline in the 21st, Sheila Liming's ''Office'' narrates a cultural history of a place that has arguably been the primary site of labor in the postmodern economy. During the post-war decades of the 20th century, the office rose to prominence in culture, achieving an iconic status that is reflected in television, film, literature, and throughout the history of advertising. Most people are well versed in the clichés of office culture, despite evidence that an increasing number of us no longer work in offices. With the development of computing technology in the 1980s and 90s, the office underwent many changes. Microsoft debuted its suite of multitasking applications known as Microsoft Office in 1989, firing the first shot in the war for the office's survival. This book therefore poses the question: how did culture become organized around the idea of the office, and how will it change if the office becomes extinct?
Sandfuture
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'Sandfuture' is a book about the life of the architect Minoru Yamasaki (1912–1986), who remains on the margins of history despite the enormous influence of his work on American architecture and society. That Yamasaki’s most famous projects — the Pruitt-Igoe apartments in St. Louis and the original World Trade Center in New York — were both destroyed on national(...)
Sandfuture
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'Sandfuture' is a book about the life of the architect Minoru Yamasaki (1912–1986), who remains on the margins of history despite the enormous influence of his work on American architecture and society. That Yamasaki’s most famous projects — the Pruitt-Igoe apartments in St. Louis and the original World Trade Center in New York — were both destroyed on national television, thirty years apart, makes his relative obscurity all the more remarkable. 'Sandfuture' is also a book about an artist interrogating art and architecture’s role in culture as New York changes drastically after a decade bracketed by terrorism and natural disaster. From the central thread of Yamasaki’s life, 'Sandfuture' spirals outward to include reflections on a wide range of subjects, from the figure of the architect in literature and film and transformations in the contemporary art market to the perils of sick buildings and the broader social and political implications of how, and for whom, cities are built.
Théorie de l’architecture
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First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the Spectacle has since acquired a cult status. Credited by many as being the inspiration for the ideas generated by the events of May 1968 in France, Debord's pitiless attack on commodity fetishism and its incrustation in the practices of everyday life continues(...)
Comments on the society of the spectacle
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First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the Spectacle has since acquired a cult status. Credited by many as being the inspiration for the ideas generated by the events of May 1968 in France, Debord's pitiless attack on commodity fetishism and its incrustation in the practices of everyday life continues to burn brightly in today's age of satellite television and the soundbite. In Comments on the Society of the Spectacle, published twenty years later, Debord returned to the themes of his previous analysis and demonstrated how they were all the more relevant in a period when the integrated spectacle was dominant. Resolutely refusing to be reconciled to the system, Debord trenchantly slices through the doxa and mystification offered tip by journalists and pundits to show how aspects of reality as diverse as terrorism and the environment, the Mafia and the media, were caught up in the logic of the spectacular society. Pointing the finger clearly at those who benefit from the logic of domination, Debord's comments convey the revolutionary impulse at the heart of situationism.
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janvier 2011
Théorie/ philosophie
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For the past three years, the Spain Yearbook has been complemented by a special edition of AV Monographs that is an invitation to travel the world through twelve foreign works presented by Luis Fernández-Galiano, who reflects on the uncertain contemporary landscape. The year has been marked by political,turmoil in the US, but there have been other relevant issues on the(...)
AV Monographs 280: World Tour 2026
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For the past three years, the Spain Yearbook has been complemented by a special edition of AV Monographs that is an invitation to travel the world through twelve foreign works presented by Luis Fernández-Galiano, who reflects on the uncertain contemporary landscape. The year has been marked by political,turmoil in the US, but there have been other relevant issues on the international level, such as the unstoppable rise of China and the conflicts in Gaza and Ukraine. The buildings of the year include long-awaited landmarks such as Heneghan Peng's Grand Egyptian Museum, Norman Foster's JPMorgan Headquarters in New York, and Sou Fujimoto's ring for the Osaka Expo; typological revisions by Herzog & de Meuron at Calder Gardens, OFFICE for the Swiss television, and Diller Scofidio+Renfro at the Victoria & Albert Storehouses; cultural refurbishments such as those by Nouvel in Paris, Pihlmann in Copenhagen, and MAD in Rotterdam; and the tectonic displays of Grafton Architects in Fayetteville, Vector Architects in Jingdezhen, and Aidia Studio in Nicolás Bravo.
Revues
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For most North Americans and Europeans, the Bosnian War was played out in the brief, flickering images of television news. But another set of images, more permanent and more profound, played an active role in this war, molding public sentiment and calling attention to the plight of the Bosnian people. For three hellish years, Bosnians plastered the walls of their towns(...)
mai 2001, New York
Evil doesn't live here : posters from the Bosnian war
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For most North Americans and Europeans, the Bosnian War was played out in the brief, flickering images of television news. But another set of images, more permanent and more profound, played an active role in this war, molding public sentiment and calling attention to the plight of the Bosnian people. For three hellish years, Bosnians plastered the walls of their towns with messages of anger, frustration, desperation, resistance, and hope. These extraordinary images, the focus of this book, are juxtaposed with the hateful, divisive works of propaganda that served the most vicious practitioners of 'ethnic cleansing'. "Evil Doesn't Live Here" presents this visual battle to the rest of the world for the first time. Former Bosnian aid workers Daoud Sarhandi and Alina Boboc have gathered over 180 of the most dramatic wartime posters, largely created by Bosnian artists and graphic designers at the height of the war. Fascinating on both political and artistic levels, they provide a harrowing account of the war and put a human face on this seemingly incomprehensible conflict.
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mai 2001, New York
Imagery in the 21st century
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We are surrounded by images as never before: on Flickr, Facebook, and YouTube; on thousands of television channels; in digital games and virtual worlds; in media art and science. Without new efforts to visualize complex ideas, structures, and systems, today’s informatio explosion would be unmanageable. The digital image represents endless options for manipulation; images(...)
Imagery in the 21st century
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We are surrounded by images as never before: on Flickr, Facebook, and YouTube; on thousands of television channels; in digital games and virtual worlds; in media art and science. Without new efforts to visualize complex ideas, structures, and systems, today’s informatio explosion would be unmanageable. The digital image represents endless options for manipulation; images seem capable of changing interactively or even autonomously. This volume offers systematic and interdisciplinary reflections on these new image worlds and new analytical approaches to the visual. This publication examines this revolution in various fields, with researchers from the natural sciences and the humanities meeting to achieve a deeper understanding of the meaning and impact of the image in our time. The contributors explore and discuss new critical terms of multidisciplinary scope, from database economy to the dramaturgy of hypermedia, from visualizations in neurosciences to the image in bio art. They consider the power of the image in the development of human consciousness, pursue new definitions of visual phenomena, and examine new tools for image research and visual analysis. The goal is to expand visual competence in investigating new visual worlds and to build cross-disciplinary exchanges among the arts, humanities, and natural sciences.
Théorie de l’art
General Idea
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This 768-page volume stands as the most comprehensive source on the Canadian collective General Idea, founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson and active until the deaths of Partz and Zontal in 1994. The book is arranged in three parts: Performances and Actions, In the Streets and In the Showroom. The first two parts focus on ephemeral,(...)
General Idea
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This 768-page volume stands as the most comprehensive source on the Canadian collective General Idea, founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson and active until the deaths of Partz and Zontal in 1994. The book is arranged in three parts: Performances and Actions, In the Streets and In the Showroom. The first two parts focus on ephemeral, time-based and even disposable works. The third part includes a plate section offering a near-complete visual survey of General Idea's practice. Facing-page comparative images show works as they appeared in historical installations or other relevant contexts. These three sections correspond broadly to the collective’s development: from performances, actions, pageants and other practices (1969–78), through works engaging with mass-media formats such as the magazine, television and video (1972–’80s), and finally to works conceived for galleries and museums (1985–94). The publication features a prologue by AA Bronson, a conversation between him and Beatrix Ruf, and new texts by international scholars. The appendix includes a complete scholarly bibliography, exhibition and performance histories, and an illustrated chronology of the group.
Art canadien