|
Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles
Madrid on the move illustrates print culture and the urban
experience in nineteenth-century Spain. It provides a fresh account
of modernity by looking beyond its canonical texts, artworks, and
locations and explores what being modern meant to people in their
daily lives. Rather than shifting the loci of modernity from Paris
or London to Madrid, this book decentres the concept and explains
the modern experience as part of a more fluid, global phenomenon.
Meanings of the modern were not only dictated by linguistic
authorities and urban technocrats; they were discussed, lived, and
constructed on a daily basis. Cultural actors and audiences
displayed an acute awareness of what being modern entailed and
explored the links between the local and the global, two concepts
and contexts that were being conceived and perceived as
inseparable. -- .
South African artist Irma Stern (1894-1966) is one of the nation's
most enigmatic modern figures. Stern held conservative political
positions on race even as her subjects openly challenged racism and
later the apartheid regime. Using paintings, archival research, and
new interviews, this book explores how Stern became South Africa's
most prolific painter of Black, Jewish, and Colored (mixed-race)
life while maintaining controversial positions on race. Through her
art, Stern played a crucial role in both the development of
modernism in South Africa and in defining modernism as a global
movement. Spanning the Boer War to Nazi Germany to apartheid South
Africa and into the contemporary #RhodesMustFall movement, Irma
Stern's work documents important twentieth-century cultural and
political moments. More than fifty years after her death, Stern's
legacy challenges assumptions about race, gender roles, and
religious identity and how they are represented in art history.
The Palais de Tokyo, built for the 1937 International Exhibition of
Arts and Technology, is an icon of French Art Deco architecture.
Located prominently on the northern bank of the Seine near the
Eiffel Tower, the vast complex today is a hotspot of modern and
contemporary art in the French capital. Opened as part of the 1937
International Exhibition, the Musee d'Art moderne de la Ville de
Paris (MAM) has always had its home in the eastern wing of Palais
de Tokyo. After a major refurbishment directed by Paris-based h2o
architectes, it was re-inaugurated in October 2019. This book
documents the creation of the new MAM. Alongside brief essays and a
conversation with h2o architectes founding partners Jean-Jacques
Hubert and Antoine Santiard, it features plans and visualisations
as well as historic photographs. The construction process is
illustrated through a photo essay by artist Laetitia Badaut
Haussmann and reportages by photographer Myr Muratet and
architect-photographer Stephane Chalmeau. Text in English and
French.
A groundbreaking history of the confluence of regulatory thinking
and building design in the United States What is the origin of
"room temperature"? When did food become considered fresh or not
fresh? Why do we think management makes things more efficient? The
answers to these questions share a history with architecture and
regulation at the turn of the twentieth century. This pioneering
technological and architectural history of environmental control
systems during the Gilded Age begins with the premise that
regulation-of temperature, the economy, even the freshness of
food-can be found in the guts of buildings. From cold storage and
scientific laboratories to factories, these infrastructures first
organized life in a way we now call "modern." Drawing on a range of
previously unexplored archival resources, Michael Osman examines
the increasing role of environmental technologies in building
design from the late nineteenth century. He shows how architects
appropriated and subsumed the work of engineers as thermostats, air
handlers, and refrigeration proliferated. He argues that this
change was closely connected to broader cultural and economic
trends in management and the regulation of risk. The transformation
shaped the evolution of architectural modernism and the development
of the building as a machine. Rather than assume the preexisting
natural order of things, participants in regulation-including
architects, scientists, entrepreneurs, engineers, managers,
economists, government employees, and domestic reformers-became
entangled in managing the errors, crises, and risks stemming from
the nation's unprecedented growth. Modernism's Visible Hand not
only broadens our conception of how industrial capitalism shaped
the built environment but is also vital to understanding the role
of design in dealing with ecological crises today.
Pepin Press Art Portfolios contain 8 high-quality art reproductions
printed on 200 gsm watercolour paper or satin coated art paper.
These papers are non-ageing, manufactured from chlorine-free pulp
by FSC and PEFC certified mills. The prints are enclosed in
hardback portfolio covers made of premium paperboard with inner end
papers along with flaps for further protection. The portfolios have
a high-quality cloth spine (made of rayon, a plant-based fiber) and
a cotton ribbon closure. All images reproduced come from our own
archives, except for the van Gogh and Monet volumes. In our
selections we have sought to combine complimentary images, striking
a balance between the familiar and those lesser known. Alongside
traditionally famous images many uncommon but delightful drawings
and prints can also be found.
|
OMA
(German, Hardcover)
Sandra Hofmeister
|
R1,352
R1,245
Discovery Miles 12 450
Save R107 (8%)
|
Ships in 12 - 17 working days
|
|
OMA - Office for Metropolitan Architecture - gehoert zu den
weltweit einflussreichsten Think Tanks im Bereich Architektur und
Stadtplanung. Rem Koolhaas, Grundungsvater und
Pritzker-Preistrager, steht mit seiner intellektuellen
Herangehensweise an Architektur fur weitaus mehr als den globalen
Star-Architekten: Die Architektur bei OMA entsteht in enger
Zusammenarbeit mit AMO, dem dazugehoerigen und doch eigenstandige
Design- und Forschungsstudio. Hier wie dort heisst es: Architektur
weiterdenken, sich von Konventionen loesen, neue Moeglichkeiten
entdecken. Der Weg ist das Ziel, die Architektur ein nie endender
Prozess dauernd wechselnder Bedingungen und Perspektiven. Diese
Monografie uber OMA zeigt beeindruckende Projekte aus vielen Jahren
des Architekturschaffens, sie beschreibt Ideen, Techniken und
Prozesse und zeigt vor allem eines: viele Baudetails.
A full-colour illustrated biography of the life of Susie Cooper and
her ceramic company's output. During her sixty-five-year career,
Susie Cooper introduced more than 4,500 ceramic patterns and
shapes, making her one of the most prolific, versatile and
influential designers the industry has ever seen. Between the 1920s
and 1980s she moved from the bold hand-painting of the 'Jazz Age'
through delicate wash banding and aerograph techniques to
sophisticated lithographic transfer printing on both earthenware
and bone china. Cooper not only led the charge of gifted female
designers in the male-dominated Potteries but also pioneered the
role of women in factory management. Alan Marshall here charts her
progress from the creation of patterns for Gray's Pottery in the
1920s, to running her own Susie Cooper Productions from the 1930s
to the 1950s, and designing for Wedgwood from the 1960s to the
1980s.
Focusing on Art Deco graphic art and illustration, this gorgeous
new book features fascinating text on the movement in general,
fashion and advertising, accompanied by beautiful reproductions of
work by talents such as Barbier, Erte, Cassandre and Colin.
Sympathetic examples of other forms of Art Deco are also included.
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.
Bauhaus inherited the mantle of beauty and craftsmanship from the
Arts and Crafts movement of the late 19th Century but was founded
on geometric principles, associated with Art Deco and firmly rooted
in the challenge of modern production methods. Kandinsky, Klee,
Franz Marc and Laszlo Moholy-Nagy taught at the Bauhaus school -
created by Walter Gropius in 1919 and closed by the Nazis in the
early 1930s - which influenced a wide range of design, from
buildings to typography, furniture and painted forms. This
luxurious new book explores the origins and extensive influence on
the contemporary art and architecture.
Arvey Foundation Book Award, Association for Latin American Art,
2018 Many Latin American artists and critics in the 1920s drew on
the values of modernism to question the cultural authority of
Europe. Modernism gave them a tool for coping with the mobility of
their circumstances, as well as the inspiration for works that
questioned the very concepts of the artist and the artwork and
opened the realm of art to untrained and self-taught artists,
artisans, and women. Writing about the modernist works in
newspapers and magazines, critics provided a new vocabulary with
which to interpret and assign value to the expanding sets of
abstracted forms produced by these artists, whose lives were shaped
by mobility. The Mobility of Modernism examines modernist artworks
and criticism that circulated among a network of cities, including
Buenos Aires, Mexico City, Havana, and Lima. Harper Montgomery maps
the dialogues and relationships among critics who published in
avant-gardist magazines such as Amauta and Revista de Avance and
artists such as Carlos Merida, Xul Solar, and Emilio Pettoruti,
among others, who championed esoteric forms of abstraction. She
makes a convincing case that, for these artists and critics,
modernism became an anticolonial stance which raised issues that
are still vital today-the tensions between the local and the
global, the ability of artists to speak for blighted or
unincorporated people, and, above all, how advanced art and its
champions can enact a politics of opposition.
|
You may like...
Gropius
Gilbert Lupfer & Paul Sigel, Taschen
Hardcover
R480
R397
Discovery Miles 3 970
|