The Brooklyn Bridge is a pre-eminent global icon. It is the world's most famous and beloved bridge, a "must-see" tourist hotspot, and a vital fact of New York life. For almost a hundred and forty years it has inspired artists of all descriptions, fueling a constant stream of paintings, photographs, lithographs, etchings, advertising copy, movies, and book, magazine, and LP covers. In consequence, the bridge may have the richest visual history of any man-made object, so much so, in fact, that almost no major American artist has failed to pay homage to the span in some form or other. Oddly, however, there are no books currently available that chart and discuss the bridge's visual history or its role in the development of American (or Western) art. This monograph aims to correct that, providing a full visual record of the bridge from the origins of its conception to the present day. It is a celebration of the bridge's glorious visual heritage timed to appear when the city will celebrate the span's 125 th birthday.

.,."Richard Haw's beautiful book is about one of the world's great bridges, but also all about the city that makes it great." "-- Russell Shorto, author of The Island at the Center of the World"

"Re""-""Imagining the City: Art, Globalization, and Urban Spaces "examines how contemporary processes of globalization are transforming cultural experience and production in urban spaces. It maps how cultural productions in art, architecture, and communications media are contributing to the reimagining of place and identity through events, artifacts, and attitudes. This book recasts how we understand cities--how knowledge can be formed, framed, and transferred through cultural production and how that knowledge is mediated through the construction of aesthetic meaning and value.

Money Matters in European Artworks and Literature, c. 1400-1750 focuses on coins as material artefacts and agents of meaning in early modern arts. The precious metals, double-sided form, and emblematic character of coins had deep resonance in European culture and cultural encounters. Coins embodied Europe's power and the labour, increasingly located in colonised regions, of extracting gold and silver. Their efficacy depended on faith in their inherent value and the authority perceived to be imprinted into them, guaranteed through the institution of the Mint. Yet they could speak eloquently of illusion, debasement and counterfeiting. A substantial introduction precedes essays by interdisciplinary scholars on five themes: power and authority in the Mint; currency and the anxieties of global trade; coins and persons; coins in and out of circulation; credit and risk. An Afterword on a contemporary artist demonstrates the continuing expressive and symbolic power of numismatic forms.

Cities provide endless exciting scenes for the artist, from sun-baked cafes, rain-soaked streets, illuminated nightscapes and busy squares to quiet, atmospheric corners. This practical book explains how to paint these scenes using water-based painting materials and new techniques. With invaluable tips and advice throughout, it encourages a looser, more colourful approach to painting and shares a range of ideas for style and interpretation.

"Unmapping the City, " the first title in the new Intellect series Critical Photography, features photographs shot between 2004 and 2008 in different cities around the world. The images are linked by their shared attempts to define a two-dimensional approach to a three-dimensional built reality, and to address spatial representation, ritual, and urbanity through art. In representing the cityscape through a flat texture of lines and bold colors, the reader is drawn into a conversation about the interplay between reality and its representation. This volume significantly challenges and expands the critical discourse on photography and text and will be of interest to artists, curators, photographers, architects, and critical theorists.

"Car Fetish "presents the automobile as a source of inspiration for the art of the last hundred years. Starting with the Futurists, who saw in its beastly roar and thrilling, dangerous speed a new ideal of beauty, the book provides an overview of the most beautiful and inspiring artworks we owe to this tin muse. Among them are examples of Pop Art and creations by the Nouveaux Realistes, with Jean Tinguely as biggest Formula 1 fan. The extensive catalog places the automobile in the context of cultural history as a key cultural artifact of the twentieth century.

Among the included artists are Kenneth Anger, Giacomo Balla, Edward Burtynsky, Andrew Bush, Cesar, John Chamberlain, Liz Cohen, Stephen Dean, Jan Dibbets, Don Eddy, Hans-Peter Feldmann, Sylvie Fleury, Franz Gertsch, Allan Kaprow, Peter Keetman, Edward Kienholz, Konrad Klapheck, Annika Larsson, Jacques-Henri Lartigue, Zilla Leutenegger, Arnold Odermatt, Ahmet Ogut, Julian Opie, Mel Ramos, Robert Rauschenberg, Pipilotti Rist, Peter Roehr, Mimmo Rotella, Bruno Rousseaud, Luigi Russolo, Franck Scurti, Roman Signer, Stefan Sous, Peter Stampfli, Anton Stankowski, Superflex, Andy Warhol, Patrick Weidmann, Virgil Widrich, and Dale Yudelman.

A wide-ranging study of the significance of swords throughout the whole Anglo-Saxon period, offering valuable insights into the meaning of and attitude towards swords. Swords were special in Anglo-Saxon England. Their names, deeds and pedigrees were enshrined in writing. Many were curated for generations, revealed by their worn and mended condition. Few ended their lives as casual discards, placed instead in graves, hoards and watercourses as part of ritualised acts. Contemporary sources leave no doubt that complex social meanings surrounded these weapons, transcending their use on the battlefield; but they have yet to transcend the traditional view that their primary social function was as status symbols. Even now, half a century after the first major study of Anglo-Saxon swords, their wider significance within their world has yet to be fully articulated. This book sets out to meet the challenge. Eschewing modern value judgements, it focuses instead on contemporary perceptions - exploring how those who made, used and experienced swords really felt about them. It takes a multidisciplinary and holistic approach, bringing together insights from art, archaeology and literature. Comparison with Scandinavia adds further nuance, revealing what was (and was not) distinctive of Anglo-Saxon views of these weapons. Far from elite baubles, swords are revealed to have been dynamic "living" artefacts with their own identities, histories and places in social networks - ideas fuelled by their adaptability, durability and unique rolein bloodshed. Sue Brunning is Curator of European Early Medieval Collections at The British Museum.

A window provides access to two of life's essentials, light and air, but it is more than just a means to an end. Windows also have symbolic, expressive and architectural qualities that have for centuries inspired some of the world's greatest artists. In this engaging new study, Christopher Masters celebrates the multiple roles of the window in art through five key themes, from the window as a status symbol to its use as a provider of physical and spiritual illumination; from its employment as a literal window on the world outside the confines of a room to its function as a mirror, reflecting the emotions of the artist or the individuals depicted; and finally to the immense architectural variety of windows that animate interior and exterior scenes throughout Western painting. With superb reproductions of 90 works by major artists from Giotto to Banksy, and spirited analysis of the paintings' meanings, this is a remarkable exploration of an important but hitherto neglected subject in art history.

Representation of Artificial Intelligence in the Arts, Vol. 1: Androids, Golems, and Prometheus addresses the way in which artificial intelligence, mechanical anthropoids, Golems, and similar types of robots are represented in contemporary culture. These can be seen both in literature and in the cinema. This book does not seek to define or contain what artificial intelligence is. Rather, it argues our own limitations limit the possibilities and potentials of artificial intelligence. Representation of Artificial Intelligence in the Arts, Vol. 1 makes it clear these imaginaries have more to do with what we are as a society and individuals than with the parameters that these creations actually have.

Trench art is the evocative name given to a dazzling array of objects made from the waste of industrialized war. Each object, whether an engraved shell case, cigarette lighter or a pen made from shrapnel, tells a unique and moving story about its maker. For the first time, this book explores in-depth the history and cultural importance behind these ambiguous art forms. Not only do they symbolize human responses to the atrocities of war, but they also act as mediators between soldiers and civilians, individuals and industrial society, and, most importantly, between the living and the dead. Trench art resonates most obviously with the terror of endless bombardment, night raids, gas attacks and the bestial nature of trench life. It grew in popularity between 1919 and 1939 when the bereaved embarked on battlefield pilgrimages and returned with objects intended to keep alive the memory of loved ones. The term trench art is, however, misleading, as it does not simply refer to materials found in the trenches. It describes a diverse range of objects that have in some way emerged from the experience of war all over the world. Many distinctive objects, for example, were made during conflicts in Bosnia, Vietnam, Northern Ireland and Korea.Surprisingly, trench art predates World War I and it can be made in a number of earlier wars such as the Crimean War, the American Civil War, and the Boer War. Saunders looks at the broader issues of what is meant by trench art, what it was before the trenches and how it fits in with other art movements, as well as the specific materials used in making it. He suggests that it can be seen as a bridge between the nineteenth century certainties and the fragmentedindustrialized values and ideals of the modern world. This long overdue study offers an original and informative look at one of the most arresting forms of art. Spanning from 1800 to the present day, its analysis of art, human experience, and warfare will pave the way for new research and will be of great interest to cultural and military historians, anthropologists, art historians and collectors.

Trench art is the evocative name given to a dazzling array of objects made from the waste of industrialized war. Each object, whether an engraved shell case, cigarette lighter or a pen made from shrapnel, tells a unique and moving story about its maker. For the first time, this book explores in-depth the history and cultural importance behind these ambiguous art forms. Not only do they symbolize human responses to the atrocities of war, but they also act as mediators between soldiers and civilians, individuals and industrial society, and, most importantly, between the living and the dead. Trench art resonates most obviously with the terror of endless bombardment, night raids, gas attacks and the bestial nature of trench life. It grew in popularity between 1919 and 1939 when the bereaved embarked on battlefield pilgrimages and returned with objects intended to keep alive the memory of loved ones. The term trench art is, however, misleading, as it does not simply refer to materials found in the trenches. It describes a diverse range of objects that have in some way emerged from the experience of war all over the world. Many distinctive objects, for example, were made during conflicts in Bosnia, Vietnam, Northern Ireland and Korea.Surprisingly, trench art predates World War I and it can be made in a number of earlier wars such as the Crimean War, the American Civil War, and the Boer War. Saunders looks at the broader issues of what is meant by trench art, what it was before the trenches and how it fits in with other art movements, as well as the specific materials used in making it. He suggests that it can be seen as a bridge between the nineteenth century certainties and the fragmentedindustrialized values and ideals of the modern world. This long overdue study offers an original and informative look at one of the most arresting forms of art. Spanning from 1800 to the present day, its analysis of art, human experience, and warfare will pave the way for new research and will be of great interest to cultural and military historians, anthropologists, art historians and collectors.

Temporary natural arrangements have captivated people across the world. Readers will learn how a professional artist creates these outdoor installations and get inspired to create their own with a detailed look at the outdoor world of artist James Brunt. Brunt makes art that works with the environment while not changing it or having a permanent impact on the world in which he creates. Whether on a beach or in the woods, playing and creating can lead to a sense of calm and connection to nature. With a collection of new and previously unseen works, Brunt combines imagery and words to share how harnessing the power of nature helps us stay connected and grounded in an increasingly fast-paced world. His Invitations to Play ask readers to take some time out, go outside, immerse yourself in natural surroundings, and explore their own creative interactions, using natural materials like stones, leaves, wood, and more in the environment in which they're found.

For the past thirty years, Japanese photographer Naoya Hatakeyama has undertaken a photographic examination of the life of cities and the built environment. Each of his series focuses on a different facet of the growth and transformation of the urban landscape-from studies of architectural maquettes to the extraction and use of natural materials such as limestone, as it is quarried via explosive blasts and subsequently incorporated into the construction of new buildings. In particular, Hatakeyama has routinely returned to the Tokyo-Yokohama metropolis, exploring this ever-evolving urban sprawl from both below and above, mapping the growth and expansion of these sites over time. Additional series focus on other forms of human intervention with the landscape and natural materials, including factories and building sites in Japan and abroad. Finally, his most recent photographs of his hometown of Rikuzentakata, a fishing town that was almost completely destroyed by the March 11, 2011 earthquake and tsunami, are also included-an ongoing series begun almost immediately following the disaster. These photographs hauntingly embody the death and rebirth of the city, manifesting a deeply personal connection to the ongoing intersection of geology, architecture, and time.

Although Antiquity itself has been intensively researched, together with its reception, to date this has largely happened in a compartmentalized fashion. This series presents for the first time an interdisciplinary contextualization of the productive acquisitions and transformations of the arts and sciences of Antiquity in the slow process of the European societies constructing a scientific system and their own cultural identity, a process which started in the Middle Ages and has continued up to the Modern Age. The series is a product of work in the Collaborative Research Centre "Transformations of Antiquity" and the "August Boeckh Centre of Antiquity" at the Humboldt University of Berlin. Their individual projects examine transformational processes on three levels in particular - the constitutive function of Antiquity in the formation of the European knowledge society, the role of Antiquity in the genesis of modern cultural identities and self-constructions, and the forms of reception in art, literature, translation and media.

Like Claude Monet s celebrated plein air landscapes at Giverny, the series collected in this book represents among the best-loved examples of Joaquin Sorolla s (1863-1923) work, and a window into the Spanish painter s quest to capture the essence of a garden. Described by Monet as the master of light, Sorolla and his landscapes, formal portraits, and historically themed canvases drew comparisons to contemporary American painter John Singer Sargent. Sorolla had achieved renown on both sides of the Atlantic for grand scenes of Spanish life when he began a personal series of garden works, presented completely for the first time in this publication. Painted at the palaces of La Granja and the Alcazar in Seville, the Alhambra and Generalife in Granada, and at the painter s home in Madrid, these Impressionist works allowed Sorolla to apply his signature loose brushwork and training as a photographer s lighting assistant to gardens and the sculptures, architecture, and sitters that frame and animate them. Sorolla depicted reflections in fountains and pools, the sunlight dappling his glamorous sitters, sprays of orange blossoms, and shaded blue-and-white tile as he endeavoured to render the radiant peace of a summer afternoon.

Villa Albani Torlonia, with its collections, the Italian garden, and the hemicycle of the Kaffeehaus, is a sublime testimony of that particular antiquarian taste which came to the fore in the mid-eighteenth century, that for which Rome became a favourite destination on the Grand Tour. The classicist dream of Cardinal Alessandro Albani (1692 1779), was preserved thanks to the Torlonia family, who purchased the villa in 1866, enlarging the collection and the gardens and restoring the most important cardinal residence of the eighteenth century. More than 300 images by the great Italian master Massimo Listri recount the history of this extraordinary cultural heritage for the very first time. An immersive journey leads the reader between its collections of ancient masterpieces. Statues, bas-reliefs, and fountains are ensconced between the various buildings and gardens of the villa in a composition of environments, landscapes, and works of art forever waiting to be discovered.

On Reflection: Moments, Flight and Nothing New attempts to grapple with the complexities of our present moment. Personal and imagined stories appear as fragments of everyday scenes forming a narrative of self-discovery. Vignettes accompanied by photography explore life's contradictions, trauma, and the ways in which we navigate the fluidity of cities. The poems move back and forth in time and across Europe, highlighting a range of experiences and perspectives of our modern society as a series of snapshots. In each, we catch a glimpse of ourselves, demonstrating how such moments and characters influence our journeys. Written from the consciousness of a British Ghanaian, the collection is a love letter to the lived and shared experience of those struggling and learning about the various intersections of their identity. Through the voice of Akos and other characters, Wiredu reaches to understand the significance of history, its effect on an evolving African diaspora in Europe, and finds hope in the present as she proposes an optimistic dialogue about the future.

In his famous interpretation of Vincent Van Gogh's painting A Pair of Peasant's Shoes (1886), Heidegger argues that shoes tell us all we need to know about the world of the person who walks in them. In the case of Van Gogh's painting, we learn this not through a description of the pair of shoes, nor by a report on how to make shoes, but by looking at the shoes. Heidegger thus gestures towards the power of the visual arts to show us human truths through images of footwear and the feet they conceal or reveal, a power that finds its fullest expression in the cinema. From Chaplin's meal of boots (The Gold Rush, 1925), through Powell and Pressburger's Red Shoes (1948) and Dorothy's ruby slippers (The Wizard of Oz, 1939), to Julia Roberts' pvc thigh-highs (Pretty Woman, 1990), Marty McFly's power-lacing Nikes (Back to the Future, 1985) and the slim, spike-heeled stiletto that graces the poster for The Devil Wears Prada (2006), shoes are not only some of the cinema's most enduring icons; they also serve as characterisations, plot devices, soundtracks, metaphors and philosophical touchpoints. This book anaylses their significnace through a range of approaches drawn from the fields of Film Studies, Philosophy, Cultural History, Fashion, Cultural Studies and Politics.

During the 18th century, the arts of industry encompassed both liberal and mechanical realms--not simply the representation of work in the fine art of painting, but the skills involved in the processes of industry itself. Drawing on a wealth of primary sources, Celina Fox argues that mechanics and artisans used four principal means to describe and rationalize their work: drawing, model-making, societies, and publications. These four channels, which form the four central themes of this engrossing book, provided the basis for experimentation and invention, for explanation and classification, for validation and authorization, and for promotion and celebration, thus bringing them into the public domain and achieving progress as a true part of the Enlightenment.

With The Assembled Human the Museum Folkwang inquires into the ambivalent relationship between humans and machines. It's a conflicted relationship, fluctuating between utopia and nightmare, and it still influences our present time. From the conveyor belt to cybernetics and today's digital revolution, from Cubism, Futurism, and Constructivism into the recent present with Ed Atkins, Jon Rafman, Avery Singer, or Anna Uddenberg, the show traces the transformation of technology, presenting a wide panorama of artistic visual worlds: human beings as hybrid creatures, blended with their own self-made machines. Featuring 200 works by 100 artists as well as prolific essays, this extensive catalogue goes in-depth into this highly current issue. Artists: Walter Heinz Allner, Bettina von Arnim, Gerd Arntz, Ed Atkins, Giacomo Balla, Joachim Bandau, Lenora de Barros, Willi Baumeister, Thomas Bayrle, Rudolf Belling, Ella Bergmann-Michel, Renato Bertelli, Umberto Boccioni, Wilhelm Braune, John Cage, Helen Chadwick, Computer Technique Group (CTG), Charles A. Csuri, Mariechen Danz, Fortunato Depero, Walter Dexel, Otto Dix, Marcel Duchamp, Raymond Duchamp-Villon, Charles & Ray Eames, Max Ernst, Alexandra Exter, OEyvind Fahlstroem, Harun Farocki, William Allan Fetter, Otto Fischer, Herbert W. Franke, Carl Grossberg, George Grosz, Richard Hamilton, Barbara Hammer, Sidsel Meineche Hansen, Raoul Hausmann, John Heartfield, Lynn Hershman Leeson, Eva Hesse, Lewis Wickes Hine, Heinrich Hoerle, Rebecca Horn, Vilmos Huszar, Boris Ignatowitsch, Fritz Kahn, Wassily Kandinsky, Anne-Mie van Kerckhoven, Friedrich Kiesler, Konrad Klapheck, Jurgen Klauke, Paul Klee, Heinrich Kley, Josh Kline, Iwan Kljun, Gustavs Klucis, Alexander Kluge, Kiki Kogelnik, Germaine Krull, Boris Kudojarow, Helmuth Kurth, Jurgen van Kranenbrock, Maria Lassnig, Fernand Leger, Alice Lex-Nerlinger, Roy Lichtenstein, El Lissitzky, Hilary Lloyd, Goshka Macuga, Rene Magritte, Kasimir Malewitsch, Man Ray, Etienne-Jules Marey, Remy Markowitsch, Caroline Mesquita, Laszlo Moholy-Nagy, Johannes Molzahn, Alexei Morgunow, Martin Munkacsi, Eadweard Muybridge, Otto Neurath, Katja Novitskova, ORLAN, Tony Oursler, Trevor Paglen, Nam June Paik, Eduardo Paolozzi, Georgi Petrusow, Antoine Pevsner, Walter Pichler, Jon Rafman, Robert Rauschenberg, Timm Rautert, Alexander Rodtschenko, Thomas Ruff, Walter Ruttmann, James Shaffer, Arkadi Schaichet, Xanti Schawinsky, Helmut Schenk, Oskar Schlemmer, Nicolas Schoeffer, Franz Wilhelm Seiwert, Avery Singer, Stelarc, Friedemann von Stockhausen, Thayaht, Paul Thek, Jean Tinguely, Patrick Tresset, Anna Uddenberg, Andor Weininger, Erwin Wendt, Hugo von Werden, George Widener. Text in English and German.

Kris Fierens (born 1957) uses the character of a preliminary study or a sketch as an enduring thing. Or, in their possibility they imitate the character of a preliminary study. Reality and emotion reach a virtual zero point. The gestures that he makes simply become the 'objets trouves'. The object 'on his own' is never present. It's the included matter that enables him to save his dream. Traces of something that still needs to happen. Of which a disappearing memory can already behold. Text in English and Dutch.

This book is based on the artwork of Sue Jane Taylor. She is no stranger to extreme working environments, having worked for over thirty years recording the lives of workers in the North Sea oil industry on sites such as Piper Alpha, Piper B, Forties platforms and recently Murchison in the Northern Seas. Her work now extends to the offshore renewable energy industry. The book brings a unique perspective to the relationship between art, environment and industry while revealing a relatively alien way of life on board a North Sea oil platform. Among other themes it will consider the future of energy in Scotland. The book has an introductory essay by Elsa Cox, Senior Curator of Technology at National Museums Scotland, illustrated by relevant objects from the collections in the National Museum. This is followed by Sue Jane Taylor's artwork, with extended captions.

A guide to the wonders of Venice, conveyed by means of an artist's sketchbook Matthew Rice is a long-time observer and illustrator of cities, buildings and all those who inhabit them, with an uncanny ability to express the energy of a place through a few lines of ink and splashes of paint. For years, Venice has been a source of deep creative inspiration for him; and now, in Venice: A Sketchbook Guide, he captures the highlights of this most beguiling of Italian cities. Unsurprisingly, given his abiding passion for architecture, Matthew provides a wealth of information about the 'stones' of Venice, including an illustrated guide to the main building styles of the city - Byzantine, Gothic, Renaissance, Baroque and Modern - and exemplars of its balconies, bridges and campaniles. Further sections explore the city's sestieri - its six residential quarters - as well as its history, paintings, festivals, wildlife and, not least, its cicchetti and aperitivi. Following the same landscape format as Matthew's real-life sketchbooks, Venice: A Sketchbook Guide will combine enchanting watercolour illustrations with an informed, personal and witty text, and promises to delight all visitors to Venice, armchair or actual.

Andrea Botto, a photographer and visual artist specializing in large works, uses his shots to describe the stages involved in the demolition of the old Ponte Morandi and the construction of the new infrastructure designed by Renzo Piano. His lens follows each phase of the undertaking with technical expertise and attention to the composition of the image, in a skilful combination of documentary reportage and aesthetic research. Botto has been working for RINA Consulting, the Italian agency supervising both the demolition and the construction of the new bridge, which is set to become a new landmark in Genoa, having been designed by Renzo Piano, one of the most renowned architects in the world. RINA Consulting was selected by the commissioning authority to carry out project management, supervision, quality control, and safety coordination during the execution phase of the project.

This is a book made from stills from Nova Paul's 16mm film 'This is not Dying' (2010). RGB print processes were used in its design to echo the RGB optical process of the three-colour-separation film itself. 'Whakarongo Mai, ' played by Ben Tawhiti for 'This is not Dying', is reconfigured here on 7 LP