Falling Monuments, Reluctant Ruins: The Persistence of the Past in the Architecture of Apartheid interrogates how, in the era of decolonisation, post-apartheid South Africa reckons with its past in order to shape its future. Architects, historians, artists, social anthropologists and urban planners seek answers in this book to complex and unsettling questions around heritage, ruins and remembrance.

What do we do with hollow memorials and political architectural remnants? Which should remain, which forgotten, and which dismantled? Are these vacant buildings, cemeteries, statues, and derelict grounds able to serve as inspiration in the fight against enduring racism and social neglect? Should they become exemplary as spaces for restitution and justice? The contributors examine the influence of public memory, planning and activism on such anguished places of oppression, resistance and defiance. Their focus on visible markers in the landscape to interrogate our past will make readers reconsider these spaces, looking at their landscape and history anew.

Through a series of 14 empirically grounded chapters and 48 images, the contributors seek to understand how architecture contests or subverts these persistent conditions in order to promote social justice, land reclamation and urban rehabilitation. The decades following the dismantling of apartheid are surveyed in light of contemporary heritage projects, where building ruins and abandoned spaces are challenged and renegotiated across the country to become sites of protest, inspiration and anger.

This ground-breaking collection is an important resource for professionals, academics and activists working in South Africa today.

Amid evictions, raids, killings, the drug trade, and fire, inner-city Johannesburg residents seek safety and a home. A grandmother struggles to keep her granddaughter as she is torn away from her. A mother seeks healing in the wake of her son’s murder. And displaced by a city’s drive for urban regeneration, a group of blind migrants try to carve out an existence.

The Blinded City recounts the history of inner-city Johannesburg from 2010 to 2019, primarily from the perspectives of the unlawful occupiers of spaces known as hijacked buildings, bad buildings or dark buildings. Tens of thousands of residents, both South African and foreign national, live in these buildings in dire conditions. This book tells the story of these sites, and the court cases around them, ones that strike at the centre of who has the right to occupy the city.

In February 2010, while Johannesburg prepared for the FIFA World Cup, the South Gauteng High Court ordered the eviction of the unlawful occupiers of an abandoned carpet factory on Saratoga Avenue and that the city’s Metropolitan Municipality provide temporary emergency accommodation for the evicted. The case, which became known as Blue Moonlight and went to the Constitutional Court, catalysed a decade of struggles over housing and eviction in Johannesburg.

The Blinded City chronicles this case, among others, and the aftermath – a tumultuous period in the city characterised by recurrent dispossessions, police and immigration operations, outbursts of xenophobic violence, and political and legal change. All through the decade, there is the backdrop of successive mayors and their attempts to ‘clean up’ the city, and the struggles of residents and urban housing activists for homes and a better life.

The interwoven narratives present a compelling mosaic of life in post-apartheid Johannesburg, one of the globe’s most infamous and vital cities.

An artist’s canvas reflects the face he chooses to show to the world, but the place in which that art is made is seldom revealed.

Paul Duncan was given unparalleled access into the homes and lives of fifteen of South Africa’s most revered artists. Over countless mugs of coffee or glasses of wine, he listened and observed as they spoke about their lives, loves and the way they make their art. South African Artists At Home takes the reader into some very private spaces, affording us a glimpse of what the artist goes home to at the end of the day.

For some, the work space and home space are irrevocably intertwined. For others, home is a sanctuary. Or perhaps it is the studio that is the sanctuary and home is where ‘real life’ happens.

Either way, if you have an interest in art, artists, and the often bizarre way that making art intersects with living life, you’ll find this book intriguing.

From former editor of New York magazine Adam Moss, a collection of illuminating conversations examining the very personal, rigorous, complex, and elusive work of making art.

What is the work of art? In this guided tour inside the artist’s head, Adam Moss traces the evolution of transcendent novels, paintings, jokes, movies, songs, and more. Weaving conversations with some of the most accomplished artists of our time together with the journal entries, napkin doodles, and sketches that were their tools, Moss breaks down the work—the tortuous paths and artistic decisions—that led to great art. From first glimmers to second thoughts, roads not taken, crises, breakthroughs, on to one triumphant finish after another.

Featuring: Kara Walker, Tony Kushner, Roz Chast, Michael Cunningham, Moses Sumney, Sofia Coppola, Stephen Sondheim, Susan Meiselas, Louise Glück, Maria de Los Angeles, Nico Muhly, Thomas Bartlett, Twyla Tharp, John Derian, Barbara Kruger, David Mandel, Gregory Crewdson, Marie Howe, Gay Talese, Cheryl Pope, Samin Nosrat, Joanna Quinn & Les Mills, Wesley Morris, Amy Sillman, Andrew Jarecki, Rostam, Ira Glass, Simphiwe Ndzube, Dean Baquet & Tom Bodkin, Max Porter, Elizabeth Diller, Ian Adelman / Calvin Seibert, Tyler Hobbs, Marc Jacobs, Grady West (Dina Martina), Will Shortz, Sheila Heti, Gerald Lovell, Jody Williams & Rita Sodi, Taylor Mac & Machine Dazzle, David Simon, George Saunders, Suzan-Lori Parks

Samuel Daniell can be described as one of the most accomplished yet least-known artists from the era of British exploration. He travelled around southern Africa between 1800 and 1803, and lived in Ceylon until his death in 1811.

His vivid sketches, drawings and watercolours are individuated and accomplished art works. Daniell’s representations of people of colour are remarkable for their perceptiveness and are perhaps unmatched in their sensitivity in the colonial era.

He also produced many drawings and paintings of animals that are noteworthy for their accuracy. His biography is a fascinating example of how art contributed to the accumulation of scientific knowledge and the extension of British imperial power.

Daniell’s drawings are widely scattered, and mostly unpublished. This biography reconstructs his life and travels by bringing together his known works from collections across the world.

Since 1994 South Africa has undergone a steady erosion of its indigenous built environment, with a concomitant loss of indigenous building technology and its specialised terminology. This glossary is based on the premise that you cannot understand the culture of a people unless you have a grasp of the nuances and hidden meanings of their language and brings together in one single volume the terminologies that are used by southern Africa's rural builders. It covers the terminology used by indigenous builders as well as subsequent colonial white settlers including buildings of the so-called Cape Dutch, English Georgian, Victorian and Indian Traditions. The text is set out in alphabetical order. It comprises of each term in its original language, its translation where appropriate into isiZulu, and its definition in English and isiZulu. One of the strengths of this book is its visual component of accompanying sketches that expertly illustrate the terms. This book is designed not only to assist in the teaching of architecture, but also to aid others who are interested in the field. Researchers and practitioners in disciplines such as anthropology, archaeology, culture studies and building science will find it a valuable addition to their libraries.

The Book of Small is a collection of thirty-six short stories about a childhood in a town that still had vestiges of its pioneer past. Emily Carr tells stories about her family, neighbours, friends and strangers-who run the gamut from genteel people in high society to disreputable frequenters of saloons-as well as an array of beloved pets. All are observed through the sharp eyes and ears of a young and ever-curious girl. Carr's writing is a disarming combination of charm and devastating frankness.

This first-ever biography of American painter Grace Hartigan traces her rise from virtually self-taught painter to art-world fame, her plunge into obscurity after leaving New York to marry a scientist in Baltimore, and her constant efforts to reinvent her style and subject matter. Along the way, there were multiple affairs, four troubled marriages, a long battle with alcoholism, and a chilly relationship with her only child. Attempting to channel her vague ambitions after an early marriage, Grace struggled to master the basics of drawing in night-school classes. She moved to New York in her early twenties and befriended Willem de Kooning, Jackson Pollock, and other artists who were pioneering Abstract Expressionism. Although praised for the coloristic brio of her abstract paintings, she began working figuratively, a move that was much criticized but ultimately vindicated when the Museum of Modern Art purchased her painting The Persian Jacket in 1953. By the mid-fifties, she freely combined abstract and representational elements. Grace-who signed her paintings "Hartigan"- was a full-fledged member of the "men's club" that was the 1950s art scene. Featured in Time, Newsweek, Life, and Look, she was the only woman in MoMA's groundbreaking 12 Americans exhibition in 1956, and the youngest artist-and again, only woman-in The New American Painting, which toured Europe in 1958-1959. Two years later she moved to Baltimore, where she became legendary for her signature tough-love counsel to her art school students. Grace continued to paint throughout her life, seeking-for better or worse-something truer and fiercer than beauty.

Movie houses first started popping up around Toronto in the 1910s and '20s, in an era without television and before radio had permeated every household. Dozens of these grand structures were built and soon became an important part of the cultural and architectural fabric of the city. A century later the surviving, defunct, and reinvented movie houses of Toronto's past are filled with captivating stories. Explore fifty historic Toronto movie houses and theaters, and discover their roles as repositories of memories for a city that continues to grow its cinema legacy. Features stunning historic photography.

Once the center of agricultural prosperity in Alabama, the rich soil of the Black Belt still features beautiful homes that stand as a testimony to the region's proud heritage. Join author Jennifer Hale as she explores the history of seventeen of the finest plantation homes in Alabama's Black Belt. This book chronicles the original owners and slaves of the homes and traces their descendants, who have continued to call these plantations home throughout the past two centuries. Discover why the families of an Indian chief and a chief justice feuded for over a century about the land on which Belvoir stands. Follow Gaineswood's progress as it grew from a humble log cabin into an opulent mansion. Learn how the original builder and subsequent owners of the Kirkwood Mansion are linked by a legacy of exceptional and dedicated preservation. "Historic Plantations of Alabama's Black Belt" recounts the elegant past and hopeful future of a well-loved region of the South.

In the early 20th century, there was no better example of a classic American downtown than Los Angeles. Since World War II, Los Angeles's Historic Core has been "passively preserved," with most of its historic buildings left intact. Recent renovations of the area for residential use and the construction of Disney Hall and the Staples Center are shining a new spotlight on its many pre-1930s Beaux Arts, Art Deco, and Spanish Baroque buildings.

Most of our expereince is visual. We obtain most of our information and knowledge through sight, whether from reading books and newspapers, from watching television or from quickly glimpsing road signs. Many of our judgements and decisions, concerning where we live, what we shall drive and sit on and what we wear, are based on what places, cars, furniture and clothes look like. Much of our entertainment and recreation is visual, whether we visit art galleries, cinemas or read comics. This book concerns that visual experience. Why do we have the visual experiences we have? Why do the buildings, cars, products and advertisements we see look the way they do? How are we to explain the existence of different styles of paintings, different types of cars and different genres of film? How are we to explain the existence of different visual cultures? This book begins to answer these questions by explaining visual experience in terms of visual culture. The strengths and weaknesses of traditional means of analysing and explaining visual culture are examined and assessed. Using a wide range of historical and contemporary examples, it is argued that the groups which artists and designers form, the audiences and markets which they sell to, and the different social classes which are produced and reproduced by art and design are all part of the successful explanation and critical evaluation of visual culture.

Was Britain's postwar rebuilding the height of mid-century chic or the concrete embodiment of crap towns? John Grindrod decided to find out how blitzed, slum-ridden and crumbling austerity Britain became, in a few short years, a space-age world of concrete, steel and glass. What he finds is a story of dazzling space-age optimism, ingenuity and helipads - so many helipads - tempered by protests, deadly collapses and scandals that shook the government.