Crafting Feminism develops a dynamic study of craft and art-making in modern and contemporary feminist writing. In evocative readings of literary works from Virginia Woolf to Zadie Smith, this book expands our sense of transartistic modernist scholarship to encompass process-oriented and medium-specific analyses of textile arts, digital design, collage, photography, painting, and sculpture in literary culture. By integrating these craft practices into the book's enlightening archive, Elkins's theoretical argument extends a reading of craft metaphors into the material present. Crafting Feminism demonstrates how writers have engaged with handiwork across generations and have undertaken the crafting of a new modernity, one that is queer and feminist-threaded, messy, shattered, cut-up, pasted together, preserved, repaired, reflected, and spun out. An avant-garde work of scholarship, this book interweaves queer research methods and interdisciplinary rigor with a series of surprising archival discoveries. Making visible the collaborative, creative features of craft, Elkins captivates readers with generous illustrations and a series of "Techne" interchapters-interludes between longer chapters, which powerfully convey the symbiosis between feminist theory and method, and detail the network of archival influences that underpin this volume's hybrid approach. Foregrounding the work of decentering patriarchal and Eurocentric legacies of artistic authority, Elkins champions the diverse, intergenerational history of craft as a way to reposition intersectional makers at the heart of literary culture. An original and compelling study, Crafting Feminism breaks new ground in modernist and visual studies, digital humanities, and feminist, queer, and critical race theory.

Sigfried Giedion's small but vocal manifesto Befreites Wohnen (1929) is an early manifestation of modernist housing ideology and as such is key to the broader understanding of the ambitions of the International Congresses of Modern Architecture (CIAM) and the debate on the industrialization of construction processes and its impact on public housing at the beginning of the twentieth century. An important step in Giedion's rise as one of the foremost propagators of modern architecture, this manifesto is based on the argumentative power of visual comparisons, and is the only book the art historian both authored and designed. Along a facsimile edition in German, Giedion's Befreites Wohnen is presented here for the first time in English translation (by Reto Geiser and Rachel Julia Engler). It is completed with annotations and a scholarly essay that anchors the work in the context of its time and suggests the book's relevance for contemporary architectural discourse.

As riveting as a World War II thriller, The Forger's Spell is the true story of three men and an extraordinary deception: the revered artist Johannes Vermeer; the small-time Dutch painter who dared to impersonate him years later; and the con man's mark, Hermann Goering, the fanatical art collector and one of Nazi Germany's most reviled leaders.

"I have learned profoundly from Nathan Glazer's cultural perspectives and deep insights, engaging the extraordinary and the ordinary. "From a Cause to a Style" is a work I consider most relevant and significant for our time via its all-encompassing range and its richness of detail involving multiple urban, architectural, technical, and social issues-recent, current, and future."--Robert Venturi, architect and author

"This collection is a reminder that in addition to being an urban sociologist, an astute commentator on social issues, and a public intellectual, Nathan Glazer is an insightful and provocative architecture critic."--Witold Rybczynski, author of "Home: A Short History of an Idea"

"Nathan Glazer stands in the grand but fragile American tradition of the humanist architectural critic. He is also one of our great complexifiers. Whether he is writing about cities, streets, public spaces, or particular buildings, he notices things that seem to escape the attention of the professional--though not always of the general public. To read him is to become aware of one's own architectural experience, and to begin thinking hard about how it might be improved."--Mark Lilla, University of Chicago

"This is a remarkable collection of essays that only Nathan Glazer could write. It sums up and partly explains the inability of contemporary architecture to deal with the problems of modern urbanism and to address many practical issues of building. As Glazer points out, an architectural tradition that identified itself by its capacity to focus the issues of functionalism has ended up by almost totally ignoring them."--Robert Gutman, Lecturer in Architecture, Princeton University

9 lectures in various cities, April 1915-June 1920 (CW 288) The planning, construction, and execution of the functional work of art that was the First Goetheanum was an endeavor that occupied Rudolf Steiner for the better part of seven years. Every detail, from the seemingly small--such as the shape and feel of the door handles--to the grand motifs of the paintings on the ceilings of the cupolas and the building's intended sculptural centerpiece, was lovingly designed to meet and inspire the individual human beings who would some day encounter it, not with didactic symbolism, but with the transparent reality of the spiritual foundation of humanity and the world, and the open possibility to both know this spiritual foundation and to work with it practically and artistically for the good of all. The lectures in this volume--accompanied by reproductions of more than a hundred slides--were heard by various audiences as the building neared completion and before it was destroyed by fire. The text is complemented with a foreword by the esteemed architect Douglas J. Cardinal, as well as an important and revelatory Introductory essay by David Adams: "The Form-Function Relationship in Architecture and Nature: Organic and Inorganic Functionalism." This volume of The Collected Works of Rudolf Steiner is essential reading for anyone who wants to gain a deeper understanding of the artistic motivation of Rudolf Steiner as an artist and architect, while also clearing up many of the misunderstandings that the building and its sculptural and painted components have inevitably given rise to, both then and now. C O N T E N T S Foreword by Douglas J. Cardinal Introduction by David J. Adams: "The Form-Function Relationship in Architecture and Nature: Organic and Inorganic Functionalism" 1. A House for Spiritual Science: The Form of the Building in Dornach 2. Misunderstandings of Spiritual Research and the Building Devoted to It in Dornach 3. Architectural Forms as Cosmic Thoughts and Feelings 4. The Architecture, Sculpture, and Painting of the First Goetheanum (3 lectures) 5. The Hieroglyphics of the Building in Dornach (2 lectures) 6. The Goetheanum in Dornach Appendix: On the Building in Dornach This book is translated from the German edition Architektur, Plastik und Malerei des ersten Goetheanum: Neun Vortrage, gehalten an verschiedenen Orten zwischen dem 10. April 1915 und dem 12. Juni 1920, herausgegeben aufgrund von stenographischen, teilweise von Rudolf Steiner korrigierten Nachschriften.

A century after the Bauhaus's founding in 1919, this book reassesses it as more than a highly influential art, architecture, and design school. In myriad ways, emerging ideas about the body in relation to health, movement, gender, and sexuality were at the heart of art and life at the school. Bauhaus Bodies reassesses the work of both well-known Bauhaus members and those who have unjustifiably escaped scholarly scrutiny, its women in particular. In fourteen original, cutting-edge essays by established experts and emerging scholars, this book reveals how Bauhaus artists challenged traditional ideas about bodies and gender. Written to appeal to students, scholars, and the broad public, Bauhaus Bodies will be essential reading for anyone interested in modern art, architecture, design history, and gender studies; it will define conversations and debates during the 2019 centenary of the Bauhaus's founding and beyond.

In a fleeting fourteen year period, sandwiched between two world wars, Germany's Bauhaus school of art and design changed the face of modernity. With utopian ideals for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology to be applied across painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre, and installation. As much an intense personal community as a publicly minded collective, the Bauhaus was first founded by Walter Gropius (1883-1969), and counted Josef and Anni Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Gunta Stoelzl, Marianne Brandt and Ludwig Mies van der Rohe among its members. Between its three successive locations in Weimar, Dessau and Berlin, the school fostered charismatic and creative exchange between teachers and students, all varied in their artistic styles and preferences, but united in their idealism and their interest in a "total" work of art across different practices and media. This book celebrates the adventurous innovation of the Bauhaus movement, both as a trailblazer in the development of modernism, and as a paradigm of art education, where an all-encompassing freedom of creative expression and cutting-edge ideas led to functional and beautiful creations. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

As a result of its aspiration to design the world comprehensively and to take action pedagogically based on the arts, the Bauhaus established an inseparable link between architecture, design, art, and pedagogy. The effects of this in-depth desire for reform can also still be recognized in art, architecture, design, and contemporary processes of aesthetic education one hundred years after the school's founding. The resonance of the Bauhaus is thus the topic of this book. The various texts reflect on the Bauhaus from the perspectives of the history of art and design, art education, and educational science with respect to the aspects: reception in popular culture, education through design, material in teaching, and the Bauhaus as a regulative idea in the digital age.

Art as Organism shows that the digital image was a rich and expansive artistic medium of modernism. Linking its emergence to the dispersion of biocentric aesthetic philosophies developed by Bauhaus pedagogue Laszlo Moholy-Nagy, from 1920s Berlin to the Massachusetts Institute of Technology in the 1970s, Charissa Terranova uncovers seminal but overlooked references to biology, the organism, feedback loops, emotions, and the Gestalt, along with an intricate genealogy of related thinkers across disciplines. Unearthing a forgotten narrative of modernism, one which charts the influence that biology, General Systems Theory, and cybernetics had on modern art, Terranova interprets new major art movements such as the Bauhaus, Op Art, and Experiments in Art and Technology by referencing contemporary insights from architects, embryologists, electrical engineers, and computer scientists. From kinetic and interactive art to early computer art and installations spanning an entire city, this book charts complex connections between visual culture, science and technology that comprise the deep history of 20th-century art.

This study looks at the architectural transformation of Cleveland during its "golden age" - roughly the period between post-Civil War reconstruction and World War I. By the early twentieth century, Cleveland, which would evolve into the fifth largest city in America, hoped to shed the gritty industrial image of its rapid-growth period and evolve into a city to match the political clout of its statesmen like John Hay and wealth of its business elites such as John D. Rockefeller. Encouraged by the spectacle and public response to the Beaux-Arts buildings of the Chicago World's Exposition of 1893, the city embarked upon a grand scheme to construct new governmental and civic structures known as the Cleveland Plan of Grouping Public Buildings, one of the earliest and most complete City Beautiful planning schemes in the country. The success of this plan led to a spillover effect that prompted architects to design all manner of new public buildings with similar Beaux-Arts stylistic characteristics during the next three decades. With the group plan realized, civic leaders - with the goal of expanding the city's cultural institutions to match the distinction of its civic centre - established its counterpart in University Circle, creating a secondary group plan, the first cultural centre in the country.

Modernism ushered in some of the most exciting innovations in art and literature, from Fauvism, Cubism, and Dada, to the novels of James Joyce and Franz Kafka, to such provocative works as Marcel Duchamp's "Fountain." But Modernism also left many people puzzled in its wake. How can a routine bathroom fixture be considered a work of art? Shouldn't a novel have a beginning, a middle, and an end--or at least a story? In this Very Short Introduction, Christopher Butler provides a coherent account of Modernism across various aesthetic and cultural fields. Butler examines how and why Modernism began, explaining what it is and showing how virtually all aspects of 20th and 21st century life have been influenced by its aesthetic legacy. Butler considers several aspects of modernism, including some classic modernist works, movements and notions of the avant garde, and the idea of "progress" in art. Finally, Butler sheds light on modernist ideas of the self, subjectivity, irrationalism, people and machines, and the political dimensions of modernism as a whole.
About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

The mapping of the history and trajectory of Indian modern art is a project begun only in recent years and included in it is the recovery of lesser known names and moments from under the shadow of a few dominant ones. Within it, its conscience keeper-art criticism-has borne greater neglect and obscurity. One such voice, heard with considerable attention in its time, was that of the Delhi-based art critic K. B. Goel (1930-2018). Active from the late 1950s to the '90s, his career broadly coincided with the modernist period. Active mainly as a reviewer, Goel also wrote lengthy reflective assessments, and his art writings stand out for an interpretative and often theory-based approach that is quite unique to Indian art criticism. Writing on some of the most definitive artists, movements, and styles of twentieth-century Indian art, he bears the distinction of successfully transitioning from his modernist training to theorize on the earliest postmodern developments in Indian art, such as installation art. This annotated volume seeks to bring together Goel's major writings, accompanied by a critical introduction that draws attention to his frameworks, concerns, and methodologies. It has a foreword by the eminent art critic Geeta Kapur.

In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression-the art collection, the anthology, and the archive-and their importance in the development of institutional and artistic culture in the United States. Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting. Collecting as Modernist Practice demonstrates that modernism's cultural identity was secured not so much through the selection of a canon of significant works as by the development of new practices that shaped the social meaning of art. Braddock has us revisit the contested terrain of modernist culture prior to the dominance of institutions such as the Museum of Modern Art and the university curriculum so that we might consider modernisms that could have been. Offering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of The New Negro anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States.

Rich selection of 170 boldly executed black-and-white illustrations ranging from illustrations for Laclos' Les Liaisons Dangereuses and Balzac's La Comedie Humaine to magazine cover designs, book plates, title-page ornaments for books, silhouettes and delightful mini-portraits of major composers.

John Heskett wants to transform the way we think about design by showing how integral it is to our daily lives, from the spoon we use to eat our breakfast cereal, and the car we drive to work in, to the medical equipment used to save lives. Design combines 'need' and 'desire' in the form of a practical object that can also reflect the user's identity and aspirations through its form and decoration. This concise guide to contemporary design goes beyond style and taste to look at how different cultures and individuals personalize objects. Heskett also reveals how simple objects, such as a toothpick, can have their design modified to suit the specific cultural behaviour in different countries. There are also fascinating insights into how major companies such as Nokia, Ford, and Sony approach design. Finally, the author gives us an exciting vision of what design can offer us in the future, showing in particular how it can humanize new technology. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This volume situates the work of American poet Charles Olson (1910-1970) at the centre of the early post-war American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson's work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson's published and unpublished writings to establish an original account of early post-war American modernism. The development of Olson's work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage, Charles Olson and American Modernism offers a new reading of a major American poet and an original account of the emergence of post-war American modernism.

Over 300 spectacular pendants, combs, buckles, rings, bracelets, brooches, umbrella handles, penknives, buttons, clasps and scissors in detailed photographs reprinted from rare, turn-of-the-century folio. Elegant, copyright-free illustrations exquisitely detailed with flower, foliage and butterfly motifs. Readily adaptable to any design use.

The creator of the ubiquitous Knoll "Tulip" chairs and tables, Eero Saarinen (1910-1961) was one of the 20th century's most prominent space shapers, merging dynamic forms with a modernist sensibility across architecture and design. Among Saarinen's greatest accomplishments are Washington D.C.'s Dulles International Airport, the very sculptural and fluid TWA terminal at JFK Airport in New York, and the 630 ft. (192 m) high Gateway Arch of St. Louis, Missouri, each of them defining structures of postwar America. Catenary curves were present in many of his structural designs. During his long association with Knoll, Saarinen's other famous furniture pieces included the "Grasshopper" lounge chair and the "Womb" settee. Married to Aline Bernstein Saarinen, a well-known critic of art and architecture, Saarinen also collaborated with Charles Eames, with whom he designed his first prize-winning chair. With rich illustration tracing his life and career, this introduction follows Saarinen from his studies across his training all the way to his most prestigious projects, and explores how each of his designs brought a new dimension to the modernist landscape. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

Lorna is following her dreams. But can she follow her heart?Lorna Ferguson has dreamt of opening her own bed and breakfast in the village of Glendale for as long as she'd pictured falling in love. While her love life remains frankly hopeless, Lorna is determined to secure Dove House - the home she imagined living in as a child - to start this new venture with her family. Along with brother Adam, Lorna starts restoring the house to its Art Deco glory, but faced with a whole host of renovation problems and their money fast running out, they worry that Dove House will never be ready to open in the New Year. When a mystery man turns up, needing to fulfil a promise he made to his dying father and find the object he left at Dove House many years ago, Lorna's heart goes out to him. But what they find there is going to change both of their lives forever. Facing problems at every turn, and distracted by her heart, Lorna is going to need all the magic that her beloved Glendale can supply to make all her dreams come true... An uplifting, inspirational and romantic read that will warm your heart. Fans of Jenny Colgan and Heidi Swain will love this. Readers can't get enough of the Glendale Hall series!: 'A lovely series full of warmth, inspiration, community spirit, friendship and love, set in the most idyllic village in the Scottish hills.' Reader Review 'This book is life-affirming, full of surprises, an absolute joy and a real pick-me-up!' Reader Review 'Victoria has a wonderful way of writing which brings the characters to life, their stories are believable, their love genuine and their pain heartbreaking... I've genuinely loved these books so much.' Reader Review 'A brilliantly written, deliciously witty and highly moving tale... sheer perfection from beginning to end!' Bookish Jottings 'I've fallen in love with this uplifting story and with the entire town of Glendale...I wish the characters were real!' ReadwithAbi 'A gorgeous feel-good story...I'm already looking forward to the next one!' Jessica Redland, author of Finding Love at Hedgehog Hollow 'Emotional, moving, funny, heartwarming - this novel has got it all. Highly recommended!' Samantha Tonge, author of The Winter We Met 'Read at any time when you need something comforting and cosy and want to escape from the world for a while.' Book Lover Worm 'I absolutely loved this book... beautifully written and a really easy, feel good read and a perfect escape.' A Girl Who Loves to Read

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.

The infamous literary hoax that fooled the art world On January 8 1960, artist Nat Tate set out to burn his entire life's work. Four days later he jumped off a Staten Island ferry, killing himself. His body was never found. When William Boyd published his biography of Abstract Expressionist Nat Tate, tributes poured in from a whole host of artists and critics in the New York art world. They toasted the troubled genius in a Manhattan launch party attended by David Bowie and Gore Vidal. But Nat Tate never existed. The book was a hoax. Will Boyd's biography of a fake artist is a brilliant probe into the politics of authenticity and reputation in the modern art scene. It is a playful and intelligent insight into the fascinating, often cryptic world of modern art.

A revealing new look at modernist architecture, emphasizing its diversity, complexity, and broad inventiveness "[Frampton] remains a formidable force in architecture . . . The Other Modern Movement offers an opportunity to re-examine the Western canon of 20th-century architecture-which Frampton himself was crucial in establishing-and delve deeper into the work of lesser-known practitioners."-Josephine Minutillo, Architectural Record Usually associated with Mies and Le Corbusier, the Modern Movement was instrumental in advancing new technologies of construction in architecture, including the use of glass, steel, and reinforced concrete. Renowned historian Kenneth Frampton offers a bold look at this crucial period, focusing on architects less commonly associated with the movement in order to reveal the breadth and complexity of architectural modernism. The Other Modern Movement profiles nineteen architects, each of whom consciously contributed to the evolution of a new architectural typology through a key work realized between 1922 and 1962. Frampton's account offers new insights into iconic buildings like Eileen Gray's E-1027 House in France and Richard Neutra's Kaufmann House in Palm Springs, California, as well as lesser-known works such as Antonin Raymond's Tokyo Golf Club and Alejandro de la Sota's Maravillas School Gymnasium in Madrid. Foregrounding the ways that these diverse projects employed progressive models, advanced new methods in construction techniques, and displayed a new sociocultural awareness, Frampton shines a light on the rich legacy of the Modern Movement and the enduring potential of the unfinished modernist project.