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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles
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Living In
(Hardcover)
Andrew Gestalten, Trotter, Luz
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In Making Dystopia, distinguished architectural historian James
Stevens Curl tells the story of the advent of architectural
Modernism in the aftermath of the First World War, its
protagonists, and its astonishing, almost global acceptance after
1945. He argues forcefully that the triumph of architectural
Modernism in the second half of the twentieth century led to
massive destruction, the creation of alien urban landscapes, and a
huge waste of resources. Moreover, the coming of Modernism was not
an inevitable, seamless evolution, as many have insisted, but a
massive, unparalled disruption that demanded a clean slate and the
elimination of all ornament, decoration, and choice. Tracing the
effects of the Modernist revolution in architecture to the present,
Stevens Curl argues that, with each passing year, so-called
'iconic' architecture by supposed 'star' architects has become more
and more bizarre, unsettling, and expensive, ignoring established
contexts and proving to be stratospherically remote from the
aspirations and needs of humanity. In the elite world of
contemporary architecture, form increasingly follows finance, and
in a society in which the 'haves' have more and more, and the
'have-nots' are ever more marginalized, he warns that contemporary
architecture continues to stack up huge potential problems for the
future, as housing costs spiral out of control, resources are
squandered on architectural bling, and society fractures. This
courageous, passionate, deeply researched, and profoundly argued
book should be read by everyone concerned with what is around us.
Its combative critique of the entire Modernist architectural
project and its apologists will be highly controversial to many.
But it contains salutary warnings that we ignore at our peril. And
it asks awkward questions to which answers are long overdue.
In 1940, America's favorite illustrator Norman Rockwell, his wife
Mary and their three sons moved to the picturesque rural village of
West Arlington, Vermont. The artist discovered a treasure trove of
models. Norman Rockwell's Models: In and out of the Studio is the
first to detail these models' lives, friendships with the artist,
and experiences in his studio. Dressed in quaint work clothing, the
models were dairy farmers, carpenters, country doctors, soldiers,
and mechanics. Norman Rockwell's Models features non-fiction
narratives telling the story of these folks during an era when they
helped the war effort, farmed with horses, and received home visits
from doctors. The book also describes the challenges the models
faced in their own lives and how these affected their expressions
in the paintings. For example, in several 1945 masterpieces, the
jubilance Americans felt after the close of the second word war is
revealed in their faces. Upon meeting people, young or old, the
artist would say, "Call Me Norman." Rockwell learned the models'
roles in the community and their personalities, which fostered
genuine paintings. He strove, for example, to find real-life
soldiers to model as WWII heroes and spirited boys and girls for
lively paintings. In the studio, Norman was charming and polite,
but painstaking. He demonstrated poses and did whatever was
necessary to evoke his trademark expressions, including telling
stories of his own life, sometimes laughing or crying. Spending
entire summers at his family's farmhouse near West Arlington,
Vermont, the author, S.T. Haggerty, grew up knowing many models,
including those who posed for such iconic works as Freedom of
Speech, Breaking Home Ties, and Girl at the Mirror. Along with
models and their families, the author hayed the scenic fields in
the Batten Kill River Valley and swam under the red covered bridge
on the Village Green. This experiences give him a unique
perspective for telling this story.
Modernists of the early twentieth century were transfixed by the
X-ray-a means of seeing through skin into systems of bones and
tissue. What, nearly a century later, can X-rays reveal about the
systems of modernism itself? Modern Management Methods asks how the
value of a building is produced through instruments of expertise,
management ideologies, and historical narratives. Through
unorthodox survey practices, the project uses the imaging
techniques of conservation and the documentary detritus of heritage
preservation to show how scientific methods attempt to produce
stable notions of history and value. Deploying the medium of the
X-ray, Caitlin Blanchfield and Farzin Lotfi-Jam tell two related
histories of building conservation, internationalism, and the
making of modernist meaning through the architect Le Corbusier's
building Stuttgart's Weissenhofsiedlung and the United Nations
Headquarters in New York City.
Beautifully designed and featuring breathtaking photography, this
is the ultimate Christmas gift for home design enthusiasts - from
cultural phenomenon THE MODERN HOUSE! 'A source of fascination,
inspiration and fantasy' Guardian In 2005, childhood friends Matt
Gibberd and Albert Hill set out to convince people of the power of
good design and its ability to influence our wellbeing. They
founded The Modern House - in equal parts an estate agency, a
publisher and a lifestyle brand - and went on to inspire a
generation to live more thoughtfully and beautifully at home. As
The Modern House grew, Matt and Albert came to realise that the
most successful homes they encountered - from cleverly conceived
studio flats to listed architectural masterpieces - had been
designed with attention to the same timeless principles: Space,
Light, Materials, Nature and Decoration. In this lavishly
illustrated book, Matt tells the stories of these remarkable living
spaces and their equally remarkable owners, and demonstrates how
the five principles can be applied to your own space in ways both
large and small. Revolutionary in its simplicity, and full of
elegance, humour and joy, this book will inspire you to find
happiness in the place you call home. PRAISE FOR THE MODERN HOUSE:
'One of the best things in the world' GQ 'The Modern House
transformed our search for the perfect home' Financial Times
'Nowhere has mastered the art of showing off the most desirable
homes for both buyers and casual browsers alike than The Modern
House' Vogue
Mervyn Taylor - wood engraver, painter, illustrator, sculptor and
designer - was one of the most celebrated New Zealand artists of
the 1930s to 1960s. He was highly connected to modernism and
nationalism as it was expressed in New Zealand art and literature
of the period. In the 1960s he created twelve murals for major new
government and civic buildings erected in that era of great
economic prosperity, during which New Zealand first began to loosen
its apron-string ties to England. Tragically, some have been
destroyed and others presumed lost - until now. This fascinating
book, bursting with archival material, details the detective hunt
for the murals and tells the stories of their creation. They cement
Taylor's place as one of New Zealand's most significant artists,
and are a celebration of the art and culture of our modernist era.
Gunnar S. Gundersen (1921-1983) was one of the most important
Norwegian artists of the post-war period. Together with several
other artists, he was part of a modernist breakthrough. He started
abstract painting in 1947, and by around 1960 his art had evolved
towards a fully non-figurative form. Gundersen became one of the
few Concrete artists in Scandinavia, together with Richard
Mortensen in Denmark and Olle Bonnier and Olle Baertling in Sweden.
An important part of his oeuvre consists of the many rich,
colourful wall paintings made from 1950 to 1980. Despite Gundersen
having exhibited all over the world, an international breakthrough
eluded him. A gallery dedicated to his art was opened in Hoyanger
in Western Norway in November 2018. Text in English and Norwegian.
An urban history of modern Britain, and how the built environment
shaped the nation's politics Foundations is a history of
twentieth-century Britain told through the rise, fall, and
reinvention of six different types of urban space: the industrial
estate, shopping precinct, council estate, private flats, shopping
mall, and suburban office park. Sam Wetherell shows how these
spaces transformed Britain's politics, economy, and society,
helping forge a midcentury developmental state and shaping the rise
of neoliberalism after 1980. From the mid-twentieth century,
spectacular new types of urban space were created in order to help
remake Britain's economy and society. Government-financed
industrial estates laid down infrastructure to entice footloose
capitalists to move to depressed regions of the country. Shopping
precincts allowed politicians to plan precisely for postwar
consumer demand. Public housing modernized domestic life and
attempted to create new communities out of erstwhile strangers. In
the latter part of the twentieth century many of these spaces were
privatized and reimagined as their developmental aims were
abandoned. Industrial estates became suburban business parks.
State-owned shopping precincts became private shopping malls. The
council estate was securitized and enclosed. New types of urban
space were imported from American suburbia, and planners and
politicians became increasingly skeptical that the built
environment could remake society. With the midcentury built
environment becoming obsolete, British neoliberalism emerged in
tense negotiation with the awkward remains of built spaces that had
to be navigated and remade. Taking readers to almost every major
British city as well as to places in the United States and
Britain's empire, Foundations highlights how some of the major
transformations of twentieth-century British history were forged in
the everyday spaces where people lived, worked, and shopped.
The early twentieth century is usually remembered as an era of
rising nationalism and military hostility, culminating in the
disaster of the First World War. Yet it was marked also by a
vigorous campaign against war, a movement that called into question
the authority of the nation-state. This book explores the role of
artists and writers in the formation of a modern, secular peace
movement in Britain, and the impact of ideas about "positive peace"
on their artistic practice. From Grace Brockington's meticulous
study emerges a rich and interconnected world of Hellenistic dance,
symbolist stage design, marionettes, and book illustration,
produced in conscious opposition to the values of an increasingly
regimented and militaristic society, and radically different from
existing narratives of British wartime culture. Published for the
Paul Mellon Centre for Studies in British Art
Material Modernity explores creative innovation in German art,
design, and architecture during the Weimar Republic, charting both
the rise of new media and the re-fashioning of old media. Weimar
became famous for the explosion of creative ingenuity across the
arts in Germany, due to experiments with new techniques (including
the move towards abstraction in painting and sculpture) and
inventive work in such new media as paper and plastic, which
utilized both new and old methods of art production. Individual
chapters in this book consider inventions such as the camera and
materials like celluloid, examine the role of new materials
including concrete composites in opening up fresh avenues in the
plastic arts, and relate advances in the understanding of color
perception and psychology to an increased interest in visual
perception and the latent potential of color as both architectural
ornament and carrier of emotional force in space. While art
historians usually argue that experimentation in the Weimar
Republic was the result of an intentional rejection of traditional
modes of expression in the conscious attempt to invent a modern art
and architecture unshackled from historic media and methods, this
volume shows that the drivers for innovation were often far more
complex and nuanced. It first of all describes how the material
shortages precipitated by the First World War, along with the
devastation to industrial infrastructure and disruption of historic
trade routes, affected art, as did a spirit of experimentation that
permeated interwar German culture. It then analyzes new challenges
in the 1920s to artistic conventions in traditional art modes like
painting, sculpture, drawing, architecture, textiles, and
print-making and simultaneously probes the likely causes of
innovative new methods of artistic production that appeared, such
as photomontage, assemblage, mechanical art, and multi-media art.
In doing so, Material Modernity fills a significant gap in Weimar
scholarship and art history literature.
In less than half a century, the Socialist Federal Republic of
Yugoslavia successfully defeated Fascist occupation, fended off
dominating pressures from the Eastern and Western blocs, built a
modern society on the ashes of war, created its own form of
socialism, and led the formation of the Nonaligned Movement. This
country's principles and its continued battles, fought against all
odds, provided the basis for dynamic and exceptional forms of art.
Drawing on archival materials, postcolonial theory, and Eastern
European socialist studies, Nonaligned Modernism chronicles the
emergence of late modernist artistic practices in Yugoslavia from
the end of the Second World War to the mid-1980s. Situating
Yugoslav modernism within postcolonial artistic movements of the
twentieth century, Bojana Videkanic explores how cultural workers
collaborated with others from the Global South to create
alternative artistic and cultural networks that countered Western
hegemony. Videkanic focuses primarily on art exhibitions along with
examples of international cultural exchange to demonstrate that
nonaligned art wove together politics and aesthetics, and
indigenous, Western, and global influences. An interdisciplinary
book, Nonaligned Modernism highlights Yugoslavia's key role in the
creation of a global modernist ethos and international postcolonial
culture.
They were not only two of the outstanding artists of the Bauhaus,
but also a well-known couple. Their many famous works and the
artists they influenced as teachers and role models bear witness to
their life and work. But that is not all, as another ingenious
couple literally shows us. The photographer duo Lake Verea has
joined forces with the Josef and Anni Albers Foundation to trace
the material and intellectual traces of their artistic creativity
in their estate. Correspondence with Bauhaus colleagues, tubes of
paint and fabric fibers are captured with an extraordinary feel and
vividness. Seeing the objects gives wings to the imagination. For
inevitably, one sees the hands of the artists at work, who formed
their very own contribution to 20th century art history from these
objects, conversations and trains of thought.
Caught between the Lines examines how the figure of the captive and
the notion of borders have been used in Argentine literature and
painting to reflect competing notions of national identity from the
nineteenth to the twenty-first centuries. Challenging the
conventional approach to the nineteenth-century trope of
"civilization versus barbary," which was intended to criticize the
social and ethnic divisions within Argentina in order to create a
homogenous society, Carlos Riobo traces the various versions of
colonial captivity legends. He argues convincingly that the
historical conditions of the colonial period created an ethnic
hybridity-a mestizo or culturally mixed identity-that went against
the state compulsion for a racially pure identity. This mestizaje
was signified not only in Argentina's literature but also in its
art, and Riobo thus analyzes colonial paintings as well as texts.
Caught between the Lines focuses on borders and mestizaje (both
biological and cultural) as they relate to captives: specifically,
how captives have been used to create a national image of Argentina
that relies on a logic of separation to justify concepts of
national purity and to deny transculturation.
Rene Lalique: Selections from the Steven and Roslyn Shulman
Collection introduces the artistic innovations and legacy of
renowned French Art Deco artist Rene Lalique. Born outside of Paris
in 1860, Lalique was recognized as one of France's foremost Art
Nouveau jewelry designers before turning to the material of glass
in the early twentieth century. By the 1920s, Lalique's glass
artwork embraced the new ideas and technologies that swept the
United States and Europe. He brought an artistic aesthetic to new
industries such as automotive and electrical products, as well as
to new clienteles including the rising middle class and the
increasingly independent female consumer. His legacy has influenced
subsequent generations of designers and artists, in particular
contemporary artists working in the medium of glass. Lalique's
considerable imagination and eye for design is evident in the
Steven and Roslyn Shulman Collection, one of the most comprehensive
selections of Lalique glass in the United States. The collection
features perfume bottles, vases, automobile mascots, and a wealth
of other objects that exemplify the Art Deco style and celebrate
Lalique's sense of design.
Modernism is usually thought of as a shock wave of innovations
hitting art, architecture, music, cinema and literature - the work
of Picasso, Joyce, Schoenberg, movements like Futurism and Dada,
the architecture of Le Corbusier, T.S. Eliot's The Wasteland and
the avant-garde theatre of Bertolt Brecht or Samuel Beckett. But
what really defines modernism? Why did it begin and how long did it
last? Is Modernism over now? Chris Rodriguez and Chris Garratt's
brilliant graphic guide is a brilliant exploration of the last
century's most thrilling artistic work - and what it's really all
about.
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