Mediated Messages presents a collection of original writing exploring the role played by the media in the development of postmodern architecture in the 1970s and 80s. The book's twelve chapters and case-studies examine a range of contemporary periodicals and exhibitions to explore their role in the postmodern. This focus on mediation as a key feature of architectural post-modernism, and the recognition that post-modernism grew out of developments in the media, opens up the possibility of an important new account of post-modernism distinct from existing narratives. Accompanied by a contextualizing introduction, the essays are arranged across four thematic sections (covering: images; international postmodernisms; high and low culture; and postmodern architects as theorists) and present a range of case-studies with a genuinely international scope. Altogether, this work makes a substantial contribution to the historical account of architectural postmodernism, and will be of great interest to researchers in postmodernism as well as those examining the role of the media in architectural history.

This publication features the work of French artist Eugène Louis Charvot (1847-1924), a distinguished painter and printmaker. Recognized in his time, Charvot's work was lost to history and has been rediscovered in Jacksonville Florida. A fascinating individual, Charvot practiced medicine for many years but stated that his first love was art. Thus, despite the rigors of a prestigious medical career, Charvot devoted himself to the pursuit of his muse throughout his life. Inspired by the serene countryside of his youth, Charvot became a landscapist, and made his debut in 1876 at the annual Salon in Paris. Spending his medical career in the French military, Charvot was posted in colonial Tunisia (1885-89) and Algeria (1892-96), where he documented the life around him and sent oils back to Paris for entry in the SalonsAfter Charvot's death in 1924, his work fell into obscurity. His family preserved his award-winning etchings, his landscapes and Orientalist paintings as well as his unpublished diary, family letters and sketchbooks. Charvot's daughter, Yvonne Charvot Barnett, brought the majority of his work to Jacksonville, Florida where the discovery of these extensive holdings has led to a reevaluation of Charvot's work and a resurrection of the reputation of this accomplished artist. The works now reside in the Cummer Museum of Art & Gardens, as the Charvot Collection. Through an in-depth review of his career as an artist, this new volume highlights Charvot's breadth of processes, productivity and inspiration in painting, etching and drawing. With a focus on family portraits, pastoral country scenes, nocturnes and North African genre and street scenes, the book weaves family photographs, journal entries and excerpts from family letters to recreate the world view that informed Charvot's oeuvre

Taking on the myth of France's creative exhaustion following World War II, this collection of essays brings together an international team of scholars, whose research offers English readers a rich and complex overview of the place of France and French artists in the visual arts since 1945. Addressing a wide range of artistic practices, spanning over seven decades, and using different methodologies, their contributions cover ground charted and unknown. They introduce greater depth and specificity to familiar artists and movements, such as Lettrism, Situationist International or Nouveau Realisme, while bringing to the fore lesser known artists and groups, including GRAPUS, the Sociological Art Collective, and Nicolas Schoeffer. Collectively, they stress the political dimensions and social ambitions of the art produced in France at the time, deconstruct the traditional geography of the French art world, and highlight the multiculturalism of the French art scene that resulted from its colonial past and the constant flux of artistic travels and migrations. Ultimately, the book contributes to a story of postwar art in which France can be inscribed not as a main or sub chapter, but rather as a vector in the wider constellation of modern and contemporary art.

Women - as warriors, workers, mothers, sensual women,even absent women - haunt 19th- and 20th-century Western painting: their representation is one of its most common subjects. Representing Women brings together Linda Nochlin's most important writings on the subject, as she considers work by Miller, Delacroix, Courbet, Degas, Seurat, Cassatt and Kollwitz, among many others. In her riveting, partly autobiographical, extended introduction, Nochlin documents her own pioneering approach to art history; throughout the seven essays in this book, she argues for the honest virtues of an art history that rejects methodological assumptions, and for art historians who investigate the work before their eyes while focusing on its subject matter, informed by a sensitivity to its feminist spirit.

Interrogating Secularism is a call to rethink binary categories of ""religion"" and ""secularism"" in contemporary Arab American fiction and art. While most studies that explore the traffic between literature and issues of secularism emphasize how canonical texts naturalize and reinforce secular values, Interrogating Secularism approaches this nexus through novels written by and about ethnic and religious minorities. Haque juxtaposes accounts of secular experience in the writing of Arab Anglophone authors such as Mohja Kahf, Rabih Alameddine, Khaled Mattawa, Laila Lalami, and Rawi Hage, with Arab and Muslim artists such as Ninar Esber, Mounir Fatmi, Hasan Elahi, and Emily Jacir. Looking at multiple genres and modes of aesthetic production, including AIDS narratives, visual art, and digital media, Haque explores how their conventions are used to subvert the ideals tied to secularism and the various anxieties and investments that support secularism as a premise. These authors and artists critique Western iterations of secular thought in spaces such as art exhibits, airports, borders, and literary discourses to capture how the secularism thesis reproduces the exclusivity it intends to remedy.

Today the 80-mile-long Moscow Canal is a source of leisure for Muscovites, a conduit for tourists and provides the city with more than 60% of its potable water. Yet the past looms heavy over these quotidian activities: the canal was built by Gulag inmates at the height of Stalinism and thousands died in the process. In this wide-ranging book, Cynthia Ruder argues that the construction of the canal physically manifests Stalinist ideology and that the vertical, horizontal, underwater, ideological, artistic and metaphorical spaces created by it resonate with the desire of the state to dominate all space within and outside the Soviet Union. Ruder draws on theoretical constructs from cultural geography and spatial studies to interpret and contextualise a variety of structural and cultural products dedicated to, and in praise of, this signature Stalinist construction project. Approached through an extensive range of archival sources, personal interviews and contemporary documentary materials these include a diverse body of artefacts - from waterways, structures, paintings, sculptures, literary and documentary works, and the Gulag itself. Building Stalinism concludes by analysing current efforts to reclaim the legacy of the canal as a memorial space that ensures that those who suffered and died building it are remembered. This is essential reading for all scholars working on the all-pervasive nature of Stalinism and its complex afterlife in Russia today.

With more than 280 entries, this architectural A-Z, now part of our Bibliotheca Universalis series, offers an indispensable overview of the key players in the creation of modern space. From the period spanning the 19th to the 21st century, pioneering architects are featured with a portrait, concise biography, as well as a description of her or his important work. Like a bespoke global architecture tour, you'll travel from Manhattan skyscrapers to a Japanese concert hall, from Gaudi's Palau Guell in Barcelona to Lina Bo Bardi's sports and leisure center in a former factory site in Sao Paulo. You'll take in Gio Ponti's colored geometries, Zaha Hadid's free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh's unique blend of Scottish tradition and elegant japonisme. The book's A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. With illustrations including some of the best architectural photography of the modern era, this is a comprehensive resource for any architecture professional, student, or devotee. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

A representation of the principle styles and themes that emerges from Harry Bertoia's printmaking and structure work.

Starting from up-state New York, Klitgaard swings through the country in search of artists who interpret the American landscape; through Virginia, the Carolinas, and Georgia, then west along the Gulf to Texas, the Dust Bowl, the Grand Canyon, and finally to California-where he finds more artists than on any other part of his trip. Originally published in 1941. A UNC Press Enduring Edition - UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

An interdisciplinary reference source of the critical, cultural and political practices associated with modernismMuch of the literary and cultural theory developed throughout the twentieth century relied on modernist texts and artefacts as both example and paradigm. This Dictionary collects, categorises and intersects literary, aesthetic, political and cultural terms that in one way or another came into being through the debates, conflicts, co-operations, experiments individual and collective that characterised modernism. In concise entries from international experts, it presents the terms, categories, concepts, tropes, movements, forged through the modernist upheavals (at once aesthetic and political), highlighting their genealogy, their modernist 'newness', and their historical longevity.Key FeaturesProvides new and authoritative definitions of the revolutionary art, thinking and intellectual culture which flourished in the opening decades of the last centuryDemonstrates the ways in which modernism reconceptualised and realigned all twentieth- century art forms while also formulating the critical and cultural languages of that centuryShows that modernism, in unique ways, already entailed its self-definition and articulated its own critique