Although race - a concept of human difference that establishes hierarchies of power and domination - has played a critical role in the development of modern architectural discourse and practice since the Enlightenment, its influence on the discipline remains largely underexplored. This volume offers a welcome and long-awaited intervention for the field by shining a spotlight on constructions of race and their impact on architecture and theory in Europe and North America and across various global contexts since the eighteenth century. Challenging us to write race back into architectural history, contributors confront how racial thinking has intimately shaped some of the key concepts of modern architecture and culture over time, including freedom, revolution, character, national and indigenous style, progress, hybridity, climate, representation, and radicalism. By analyzing how architecture has intersected with histories of slavery, colonialism, and inequality - from eighteenth-century neoclassical governmental buildings to present-day housing projects for immigrants - Race and Modern Architecture challenges, complicates, and revises the standard association of modern architecture with a universal project of emancipation and progress.

This new account of international modernism explores the complex motivations behind this revolutionary movement and assesses its triumphs and failures. The work of the main architects of the movement such as Frank Lloyd Wright, Adolf Loos, Le Corbusier, and Mies van der Rohe is re-examined shedding new light on their roles as acknowledged masters.

Alan Colquhoun explores the evolution of the movement fron Art Nouveau in the 1890s to the megastructures of the 1960s, revealing the often contradictory demands of form, function, social engagement, modernity and tradition.

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.

One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.

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

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.

The Bauhaus sought to unite life, craftsmanship, and art under one roof. In this volume, Walter Gropius provides a comprehensive overview of the Bauhaus workshops. He explains the basic principles guiding the teaching, describes contemporary developments in architecture, and illuminates the Bauhaus point of view on household utensils, which was geared toward finding the most suitable form for the respective object. Here, Gropius presents the Bauhaus workshops in Weimar devoted to furniture, metals, textiles, and ceramics, among other subjects.

Working from a discourse analysis perspective, MA1/4ller examines how a national art history was constituted through its linguistic construction and transmission. The study demonstrates how German art history was a ~manufactureda (TM) through language, particularly in the 19th and 20th centuries. The study operates at the interface between text linguistics, the history of concepts and the history of words and makes an important contribution to the history of national consciousness.

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.

The Bauhaus Journal, now published in this gorgeous facsimile, is the ultimate testimony to the school's diversity and impact One hundred years after the founding of the Bauhaus, it's time to revisit Bauhaus, the school's journal, as a crucial testimony of this iconic moment in the history of modern art. This gorgeously produced, slipcased, 14-volume publication features facsimiles of individual issues of the journal, as well as a commentary booklet including an overview of the content, English translations of all texts and a scholarly essay that places the journal in its historical context. Even during its existence, the influence of the Bauhaus school extended well beyond the borders of Europe, and its practitioners played a formative role in all areas of art, design and architecture. The school's international reach and impact is particularly evident in its journal. Bauhaus Journal was published periodically under the direction of Walter Gropius and L szl Moholy-Nagy, among others, from 1926 to 1931. In its pages, the most important voices of the movement were heard: Bauhaus masters and artists associated with the school such as Josef Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld and many more. The centenary of the Bauhaus provides an ideal opportunity to reassess this history, to consider the ideals of the school and its protagonists through this graphically innovative publication.

Between 1932 and 1934, Jose Clemente Orozco painted the twenty-four-panel mural cycle entitled The Epic of American Civilization in Dartmouth College's Baker-Berry Library. An artifact of Orozco's migration from Mexico to the United States, the Epic represents a turning point in his career, standing as the only fresco in which he explores both US-American and Mexican narratives of national history, progress, and identity. While his title invokes the heroic epic form, the mural indicts history as complicit in colonial violence. It questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project. In Orozco's American Epic Mary K. Coffey places Orozco in the context of his contemporaries, such as Diego Rivera and David Alfaro Siqueiros, and demonstrates the Epic's power as a melancholic critique of official indigenism, industrial progress, and Marxist messianism. In the process, Coffey finds within Orozco's work a call for justice that resonates with contemporary debates about race, immigration, borders, and nationality.

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.

Arthur Drexler (1921-1987) served as the curator and director of the Architecture and Design Department at the Museum of Modern Art (MOMA) from 1951 until 1986-the longest curatorship in the museum's history. Over four decades he conceived and oversaw trailblazing exhibitions that not only reflected but also anticipated major stylistic developments. Although several books cover the roles of MoMA's founding director, Alfred Barr, and the department's first curator, Philip Johnson, this is the only in-depth study of Drexler, who gave the department its overall shape and direction. During Drexler's tenure, MoMA played a pivotal role in examining the work and confirming the reputations of twentieth-century architects, among them Frank Lloyd Wright, Le Corbusier, Richard Neutra, Marcel Breuer, and Ludwig Mies van der Rohe. Exploring unexpected subjects-from the design of automobiles and industrial objects to a reconstruction of a Japanese house and garden-Drexler's boundary-pushing shows promoted new ideas about architecture and design as modern arts in contemporary society. The department's public and educational programs projected a culture of popular accessibility, offsetting MoMA's reputation as an elitist institution. Drawing on rigorous archival research as well as author Thomas S. Hines's firsthand experience working with Drexler, Architecture and Design at the Museum of Modern Art analyses how MoMA became a touchstone for the practice and study of midcentury architecture.

The Art of Football is a singular look at early college football art and illustrations. This collection contains more than two hundred images, many rare or previously unpublished, from a variety of sources, including artists Winslow Homer, Edward Penfield, J. C. Leyendecker, Frederic Remington, Charles Dana Gibson, George Bellows, and many others. Along with the rich art that captured the essence of football during its early period, Michael Oriard provides a historical context for the images and for football during this period, showing that from the beginning it was perceived more as a test of courage and training in manliness than simply an athletic endeavor. Oriard's analysis shows how these early artists had to work out for themselves-and for readers-what in the new game should be highlighted and how it should appear on the page or canvas. The Art of Football takes modern readers back to the day when players themselves were new to the sport, and illustrators had to show the public what the new game of football was. Oriard demonstrates how artists focused on football's dual nature as a grueling sport to be played and as a social event and spectacle to be watched. Through its illustrations and words The Art of Football gives readers an engaging look at the earliest depictions of the game and the origins of the United States as a football nation.

A poster first printed in Germany in 1926 depicts the human body as a factory populated by tiny workers doing industrial tasks. Devised by Fritz Kahn (1888-1968), a German-Jewish physician and popular science writer, "Der Mensch als Industriepalast" (or "Man as Industrial Palace") achieved international fame and was reprinted, in various languages and versions, all over the world. It was a new kind of image-an illustration that was conceptual and scientific, a visual explanation of how things work-and Kahn built a career of this new genre. In collaboration with a stable of artists (only some of whom were credited), Kahn created thousands of images that were metaphorical, allusive, and self-consciously modern, using an eclectic grab-bag of schools and styles: Dada, Art Deco, photomontage, Art Nouveau, Bauhaus functionalism, and commercial illustration. In Body Modern, Michael Sappol offers the first in-depth critical study of Fritz Kahn and his visual rhetoric. Kahn was an impresario of the modern who catered to readers who were hungry for products and concepts that could help them acquire and perform an overdetermined "modern" identity. He and his artists created playful new visual tropes and genres that used striking metaphors to scientifically explain the "life of Man." This rich and largely obscure corpus of images was a technology of the self that naturalized the modern and its technologies by situating them inside the human body. The scope of Kahn's project was vast-entirely new kinds of visual explanation-and so was his influence. Today, his legacy can be seen in textbooks, magazines, posters, public health pamphlets, educational websites, and Hollywood movies. But, Sappol concludes, Kahn's illustrations also pose profound and unsettling epistemological questions about the construction and performance of the self. Lavishly illustrated with more than 100 images, Body Modern imaginatively explores the relationship between conceptual image, image production, and embodied experience.

From the Cadillac to the Apple Mac, the skyscraper to the Tiffany lampshade, the world in which we live has been profoundly influenced for over a century by the work of American designers. But the product is only the end of a story that is full of fascinating questions. What has been the social and cultural role of design in American society? To produce useful things that consumers need? Or to persuade them to buy things that they don't need? Where does the designer stand in all this? And how has the role of design in America changed over time, since the early days of the young Republic? Jeffrey Meikle explores the social and cultural history of American design spanning over two centuries, from the hand-crafted furniture and objects of the early nineteenth century, through the era of industrialization and the mass production of the machine age, to the information-based society of the present, covering everything from the Arts and Crafts movement to Art Deco, modernism to post-modernism, MOMA to the Tupperware bowl.

Jeanne Mammen's watercolour images of the gender-bending 'new woman' and her candid portrayals of Berlin's thriving nightlife appeared in some of the most influential magazines of the Weimar Republic and are still considered characteristic of much of the 'glitter' of that era. This book charts how, once the Nazis came into power, Mammen instead created 'degenerate' paintings and collages, translated prohibited French literature and sculpted in clay and plaster-all while hidden away in her tiny studio apartment in the heart of Berlin's fashionable west end. What was it like as a woman artist to produce modern art in Nazi Germany? Can artworks that were never exhibited in public still make valid claims to protest? Camilla Smith examines a wide range of Mammen's dissenting artworks, ranging from those created in solitude during inner emigration to her collaboration with artist cabarets after the Second World War. Smith's engaging analysis compares Mammen's popular Weimar work to her artistic activities under the radar after 1933, in order to fundamentally rethink the moral complexities of inner emigration and its visual culture. While Mammen's artistry is considered through the lens of gender politics to reveal her complex relationship with the urbanisation of her time, this book also highlights the crucial role played by a lost generation of inner emigre women artists as agents of German modernity. The examination of Mammen's life and work demonstrates the crucial role women artists played as both markers and agents of German modernity, but the double marginalisation they have nonetheless encountered as inner emigres in recent history. It will be of interest to students of German studies, art history, literature, history, gender studies and cultural studies.