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Before becoming the critically acclaimed filmmaker responsible for such iconic films as Dr. Strangelove and The Shining, Stanley Kubrick spent five years as a photographer for Look magazine. The Bronx native joined the staff in 1945, when he was only 17 years old, and shot humanist slice-of-life features that celebrate and expose New York City and its inhabitants.Through a Different Lens reveals the keen and evocative vision of a burgeoning creative genius in a range of feature stories and images, from everyday folk at the laundromat to a day in the life of a debutant, from a trip to the circus to Columbia University. Featuring around 300 images, many previously unseen, as well as rare Look magazine tear sheets, this release coincides with a major show at the Museum of the City of New York and includes an introduction by noted photography critic Luc Sante. These still photographs attest to Kubrick's innate talent for compelling storytelling, and serve as clear indicators of how this genius would soon transition to making some of the greatest movies of all time.
The international popularity and prestige of modern Mexican art during the 1920s and 1930s grew out of a dynamic cultural exchange between Mexico and the United States. This exchange encompassed artists such as painters Diego Rivera, Frida Kahlo, and Ru fino Tamayo; graphic designer and art historian Miguel Covarrubias; photographers Edward Weston, Tina Modotti, and Manuel Alvarez Bravo; and jewelry designer William Spratling. Their work was championed by journalists, publishers, and arts promoters, who w rote critically acclaimed books and articles and mounted landmark exhibitions. Americans and Mexicans were drawn to each other's cultures for a variety of reasons. For some Americans, Mexico's pursuit of a progressive political agenda, which was manifest i n a socially engaged art, was compelling. Americans were also attracted to contemporary Mexican art's synthesis of the ancient and the modern, as well as to the country's rich and ongoing traditions of craft and folk art, often identified as "popular art." This mix of old and new, "high" and "low," stood in contrast to the consumer culture that was dramatically reshaping twentieth - century America. Mexican artists and powerbrokers, for their part, found the United States valuable as an international financia l center. Four cities -- New York, Chicago, Los Angeles, and Mexico City - were particularly critical to the widespread artistic recognition and acceptance of Mexican art. This book will feature paintings, drawings, photographs, and ephemera from the extra - ord inary collections of the Harry Ransom Center at the University of Texas at Austin, and also from other museums and libraries throughout the United States and Mexico.
This inspiring book accompanies the first traveling exhibition about Doris Duke's estate Shangri La and its influential synthesis of modernist architecture and Islamic art and design. Situated on five acres of terraced gardens and pools overlooking the Pacific Ocean and Honolulu's Diamond Head, Shangri La was the idyllic paradise of philanthropist Doris Duke, reflecting her personal passion for the art, architecture, and design of the Islamic world. The estate incorporates unique architectural features, such as carved marble doorways, jalis, and floral ceramic tiles, and the decor includes artifacts, such as silk textiles, jewel-toned chandeliers, and gilt and coffered ceilings, many collected during her travels. This volume presents an exclusive tour of Shangri La's breathtaking interiors and landscape, including the splendid furnishings and art. Archival photographs of Duke and friends as well as correspondence and drawings provide a view into a lifestyle defined by the highest sense of aesthetics. Doris Duke's Shangri La is sure to inspire both art and design lovers.
From the swooping concrete vaults of the TWA Terminal at JFK Airport to the 630-foot-tall Gateway Arch in St. Louis, the iconic designs of Eero Saarinen (1910-1961) captured the aspirations and values of mid-20th-century America. Potent expressions of national power, these and other Saarinen-designed structures--including the GM Technical Center, Dulles International Airport, and John Deere headquarters--helped create the international image of the United States in the decades following World War II.
"Eero Saarinen: Shaping the Future" offers a new and wide-ranging look at the entire scope of Saarinen's career. This is the first book on Saarinen to incorporate significant research and materials from the newly available archives of his office, and includes the most complete portfolio of Saarinen's projects to date--a chronological survey of more than 100 built and unbuilt works, previously unpublished photographs, plans, and working drawings.
Lavishly illustrated, this major study shows how Saarinen gave his structures an expressive dimension and helped introduce modern architecture to the mainstream of American practice. In his search for a richer and more varied modern architecture, Saarinen became one of the most prolific and controversial practitioners of his time.
This catalogue was published by the Samuel Dorsky Museum of Art at
SUNY New Paltz in conjunction with the exhibition Russel Wright:
The Nature of Design, curated by Donald Albrecht and Dianne Pierce,
on display at the Dorsky from August 29, 2012 through March 10,
2013. The exhibition and catalogue explore the work and philosophy
of renowned industrial designer Russel Wright, focusing on one of
Wright s most pervasive preoccupations, which also has much
relevance today: the relationship of humankind with the natural
world. While examining Wright s entire career from the 1920s
through the 1970s, the catalogue focuses on his work between 1945
and 1968, when Wright increasingly designed in experimental and
innovative ways. A special component of the exhibition Man and
Nature in the Hudson Valley, organized by Kerry Dean Carso provides
a historical context for Russel Wright s designs and his interest
in natural forms.
Queer people have always flocked to New York seeking freedom, forging close-knit groups for support and inspiration. Gay Gotham brings to life the countercultural artistic communities that sprang up over the last hundred years, a creative class whose radical ideas would determine much of modern culture. More than 200 images both works of art, such as paintings and photographs, as well as letters, snapshots, and ephemera illuminate their personal bonds, scandal-provoking secrets at the time and many largely unknown to the public since. Starting with the bohemian era of the 1910s and 1920s, when the pansy craze drew voyeurs of all types to Greenwich Village and Harlem, the book winds through midcentury Broadway as well as Fire Island as it emerged as a hotbed, turns to the post-Stonewall, decade-long wild party that revolved around clubs like the Mineshaft and Studio 54, and continues all the way through the activist mobilization spurred by the AIDS crisis and the move toward acceptance at the century s close. Throughout, readers encounter famous figures, from James Baldwin and Mae West to Leonard Bernstein, and discover lesser-known ones, such as Harmony Hammond, Greer Lankton, and Richard Bruce Nugent. Surprising relationships emerge: Andy Warhol and Mercedes de Acosta, Robert Mapplethorpe and Cecil Beaton, George Platt Lynes and Gertrude Stein. By peeling back the overlapping layers of this cultural network that thrived despite its illicitness, this groundbreaking publication reveals a whole new side of the history of New York and celebrates the power of artistic collaboration to transcend oppression.
I Have Seen the Future: Norman Bel Geddes Designs America is a landmark exhibition exploring the career of one of the twentieth century's foremost theatrical and industrial designers. This book will explore the career of this complex and influential man through approximately fifty projects, bringing together never beforeexhibited drawings, models, photographs and films. The exhibition will be curated by Donald Albrecht, the Museum of the City of New York's Curator of Architecture and Design, who will also serve as the book's editor. In addition to Donald Albrecht, who will contribute the Introduction to the book, seventeen scholars will contribute essays. Norman Bel Geddes (1893 1958) was an innovative stage designer, director, producer, architect, industrial designer, futurist and urban planner, to name a few of his many talents. Bel Geddes's professional credo was to simplify, to unify, to use form to communicate (and, at times, shape) function and to question the status quo. His research based approach to problem solving followed by his complete re imagining of a design problem, as if starting from scratch, resulted in the creation of a new, ideal product. Throughout his multi faceted career, Bel Geddes was a paradoxical figure made up of equal parts visionary and pragmatist, naturalist and industrialist, democrat and egoist. A number of products and practices now taken for granted can be traced directly back to Bel Geddes. His impact on the American landscape ranges from the U.S. federal highway system to all weather sports stadiums, revolving restaurants, modular domestic appliances and stylish home entertainment systems. In society at large, he played a seminal role in shaping the expectations and behavior of consumers. Bel Geddes helped transform both the industrial design and theatre design professions into the modern businesses they are today, while his theatre productions, which seamlessly fused sound, light and visual spectacle, set the stage for such immersive audience experiences as rock concerts. In addition to these real accomplishments, Bel Geddes, more than any designer of his era, created and promoted a dynamic vision of the future; streamlined, technocratic and optimistic. Believing that communication was the key factor shaping the modern world, Bel Geddes popularised this vision through drawings, models and photographs of spectacular vehicles, buildings and products featured in books with poetic titles like Horizons and Magic Motorways. His most notable effort in this regard, however, was his Futurama display for the General Motors "Highways and Horizons" exhibit at the New York World's Fair of 1939/40, which adopted the motto "I Have Seen the Future." Futurama's giant model of an American city in 1960, complete with glass clad skyscrapers and multi level super highways gave Depressionera Americans genuine hope for a better future within their lifetimes. Today, as seen in the "retro futurist" looks of theme parks and animated television programs, Bel Geddes's vision of the future remains central to the twenty first century American imagination.
Indisputably the grande dame of modern design, Andree Putman burst onto the scene twenty-five years ago with the graphic, black-and-white interiors of the Morgans Hotel in New York. Since then Putman has gone on to redefine design for a diverse group of prestigious clients, including Karl Lagerfeld, the French Ministry of Culture, and the interior of the supersonic Concorde. Projects since 1980 range from museum interiors, a jewelry line for Christofle, private residences for global trendsetters, and a film set for Peter Greenaway. Putman's work is the epitome of chic, incorporating cashmere and leather with affordable ceramic tiles and industrial metals for interiors that speak volumes for Putman's unmistakable style of quiet luxury. The same attention to detail is given to a simple necklace as to furniture collections, grand offices, and entire spa hotels. Putman is also credited for the revival of once-forgotten early modernist designers, such as Eileen Gray, Robert Mallet-Stevens, and Jean-Michel Frank, whose designs she put back into production and used in her famous interiors. The first comprehensive monograph on Putman's essential designs in 20 years, Andree Putman Complete Works will be an indispensable road map of style and elegance to all lovers of modern design.
Easily the most recognizable architectural style in America, with
its brick or shingled facades trimmed in white and ornamented with
restrained classical detail, the Colonial Revival emerged in the
late nineteenth century and is still the basis for classical design
today. "The American Style "surveys the evolution of the Colonial
Revival from the 1890s to the present, focusing on the period from
1900 to the 1930s when New York City was a major center of
architecture and decorative arts. Leading architects, including
McKim Mead & White, Delano & Aldrich, and Mott B. Schmidt,
used its vocabulary for private residences and clubs as well as
institutional buildings--banks, schools, churches, and museums.
A burst of creative energy in the fields of architecture, design,
and fashion characterized the years between the two World Wars.
Shaping new styles of buildings and furnishings, redefining
contemporary dress, and giving visual form to avant-garde
performing arts, architects and designers forged a
still-influential modern aesthetic. The era's most creative figures
rarely worked in isolation, preferring instead to participate in
international dialogues that crossed national boundaries and linked
capital cities in collaborative artistic enterprise.
"Crafting Modernism: Mid-century American Art and Design" will provide an in-depth examination of the American studio craft movement in general, with detailed analyses of all of the major mediums (clay, wood, fibre, metal, jewellery, and glass) favoured by the greatest craftsmen of the period. Both an exhibition catalogue and an historical reference, "Crafting Modernism" explores the origins of the studio craft movement, the international influences that helped it grow in this country and abroad and its convergence with the fine arts. The post-war years were a time of particular importance for the studio movement as a new generation of craftsmen began to express cultural identity and artistic innovation as well as provide social commentary through their work in all media, which led to the proliferation of the craft movement to museums and exhibitions worldwide. Artists represented in this book include Anni Albers, Dale Chihuly, Hans Christensen, Charles and Ray Eames, Sheila Hicks, Wharton Esherick, Maurice Heaton, Dorothy Liebes, Sam Maloof, George Nakashima, Gertrud and Otto Natzler, Peter Voulkos and Russel Wright, among many others. "Crafting Modernism" is the fourth instalment of the Centenary Project begun in 1993 by the Museum of Art and Design to explore the origins and development of twentieth-century American crafts. New research has made this exhibit and book possible, exploring the rediscovery and reinvigoration of craft media in the post-war years.
The Gilded Years - 1885 to 1905 - were a vital and glamorous era in New York City as families of great fortune sought to demonstrate their new position by building vast Fifth Avenue mansions filled with precious objects and important painting collections and hosting elaborate fetes and balls. This title examines the social and cultural history of these years focusing on interior design and decorative arts, fashion and jewellery, and the publications that were the progenitors of today's shelter magazines.
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