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Globalism is often discussed using abstract terms, such as
'networks' or 'flows' and usually in relation to recent history.
Global Design History moves us past this limited view of globalism,
broadening our sense of this key term in history and theory.
Individual chapters focus our attention on objects, and the stories
they can tell us about cultural interactions on a global scale.
They place these concrete things into contexts, such as trade,
empire, mediation, and various forms of design practice. Among the
varied topics included are: the global underpinnings of Renaissance
material culture the trade of Indian cottons in the
eighteenth-century the Japanese tea ceremony as a case of 'import
substitution' German design in the context of empire handcrafted
modernist furniture in Turkey Australian fashions employing
'ethnic' motifs an experimental UK-Ghanaian design partnership
Chinese social networking websites the international circulation of
contemporary architects. Featuring work from leading design
historians, each chapter is paired with a 'response', designed to
expand the discussion and test the methodologies on offer. An
extensive bibliography and resource guide will also aid further
research, providing students with a user friendly model for
approaches to global design. Global Design History will be useful
for upper-level undergraduate and postgraduate students, academics
and researchers in design history and art history, and related
subjects such as anthropology, craft studies and cultural
geography.
A richly illustrated exploration of Hannah Wilke's provocative art
and trailblazing feminism One of the most groundbreaking artists to
emerge in American art in the 1960s, Hannah Wilke consistently
challenged the prevailing narratives of women's bodies and their
representation throughout her career, until her untimely death in
1993. Wilke established a uniquely feminist iconography in
virtually all of the mediums she engaged with-painting, sculpture,
photography, video, and performance art-and offered a
life-affirming expression of vitality and bodily pleasure in her
work. Hannah Wilke: Art for Life's Sake highlights the artist's
full range of expression, bringing together photographs, works on
paper, video, and examples of Wilke's sculptures in clay and other,
nonconventional materials such as latex, kneaded erasers, and
chewing gum. New object photography brings clarity to Wilke's
boundary-crossing art practice, making many of her rarely shown
works accessible to readers for the first time. The book features a
previously unpublished 1975 interview with Wilke by art critic and
historian Cindy Nemser as well as a narrative chronology of Wilke's
art and life with many previously unpublished archival photographs.
It includes essays by Glenn Adamson, Connie Butler, and Tamara
Schenkenberg, and responses to Wilke's work by contemporary artists
Hayv Kahraman, Nadia Myre, Jeanine Oleson, and Catherine Opie.
Offering fresh perspectives on this influential artist, Hannah
Wilke: Art for Life's Sake sheds new light on Wilke's technical and
formal virtuosity, her important role in shaping postwar American
art, and the nuance and poignancy of her feminist subject matter.
Published in association with the Pulitzer Arts Foundation
Exhibition Schedule Pulitzer Arts Foundation, St. Louis June 4,
2021-January 16, 2022
The image of a tortured genius working in near isolation has
long dominated our conceptions of the artist's studio. Examples
abound: think Jackson Pollock dripping resin on a cicada carcass in
his shed in the Hamptons. But times have changed; ever since Andy
Warhol declared his art space a "factory," artists have begun to
envision themselves as the leaders of production teams, and their
sense of what it means to be in the studio has altered just as
dramatically as their practices.
"The Studio Reader "pulls back the curtain from the art world to
reveal the real activities behind artistic production. What does it
mean to be in the studio? What is the space of the studio in the
artist's practice? How do studios help artists envision their
agency and, beyond that, their own lives? This forward-thinking
anthology features an all-star array of contributors, ranging from
Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren,
Carolee Schneemann, and Buzz Spector, each of whom locates the
studio both spatially and conceptually--at the center of an art
world that careens across institutions, markets, and disciplines. A
companion for anyone engaged with the spectacular sites of art at
its making, "The Studio Reader "reconsiders this crucial space as
an actual way of being that illuminates our understanding of both
artists and the world they inhabit.
The definitive volume on Gaetano Pesce's incomparable life and
career, as told in the iconoclastic artist-designer's own words. In
a category all his own, Gaetano Pesce is widely considered one of
the most important, and elusive, creative figures of the last half
century. Bridging numerous key art and design movements, while
never truly belonging to any of them, Pesce's singular practice has
remained steadfastly provocative, defying widely held notions of
convention, utility, and good taste. Yet as New York magazine
demonstrated in its feature on the 'Pope of Gloop' upon the opening
of his recent solo show at acclaimed gallery Salon 94, the world
has arguably caught up to Gaetano Pesce. Now in his eighth decade,
Pesce recounts his life and career to renowned design curator and
critic Glenn Adamson, generating discussion conducted over several
years that is as informative as it is surprising. Discussing his
incomparable decades-long career which includes the creation of the
classic articles of his UP series, the effusively postmodern design
for Chiat/Day's headquarters, and countless works of furniture and
design objects in his signature poured resin - Pesce shares his
wide-ranging thoughts on art, design, and architecture. Always
forward-looking, Pesce's process of reinterpreting and transforming
the premises of modern design to create idiosyncratic and deeply
personal works beat a path for multidisciplinary design practice
seen everywhere today. Particularly in his exploration of
introducing imperfections, if not 'defects' into the traditionally
uniform systems of mass fabrication, Pesce turns out to be much
more of a prophet of modern design than a curious detractor.
Gaetano Pesce: The Complete Incoherence is the long overdue summary
of an irreverent, wildly inventive career that should inspire
practitioners across all creative disciplines.
Things matter. So why are we losing touch with them? From the
former director of the Museum of Arts and Design in New York comes
a timely and passionate case for the role of the well-designed
object in the digital age. In this delightful exploration of craft
in its many forms, curator and scholar Glenn Adamson explores how
raw materials, tools, design and technique come together to produce
objects of beauty and utility. A thoughtful meditation on the value
of care and attention in an age of disappearing things, Fewer,
Better Things invites us to reconnect with the physical world and
its objects.
A multifaceted look at the work of award-winning American
industrial designer Stephen Burks Through essays, photo-essays, and
a conversation between Black designer Stephen Burks (b. 1969) and
the late cultural critic bell hooks, this book contextualizes
Burks's wide-ranging work while exploring design's influence on
politics, society, and culture. Burks's work is underpinned by his
belief in a pluralistic vision of design that is inclusive of all
cultural perspectives; the award-winning designer has been
commissioned by many of the world's leading design-driven brands to
develop collections that engage hand production as a strategy for
innovation. The book centers the industrial design and craft
collaborations within Burks's workshop-based design practice and
offers an opportunity to reflect on the potential of design at a
time when racial, social, and environmental justice remain in
jeopardy. Topics explored in the book include an overview of the
designer's practice, from the foundational architecture culture of
Chicago (Burks's birthplace) to his latest speculative project; the
workshop-based collaborative ethos of his studio, Stephen Burks Man
Made; and the politics of design. In the conversation between bell
hooks and Burks, hooks brings her critical eye to design as it
relates to the broader field of African American cultural
production. Distributed for the High Museum of Art Exhibition
Schedule: High Museum of Art, Atlanta (September 16, 2022-March 5,
2023)
The most comprehensive monograph available on the greatest living
glassblower, Lino Tagliapietra. Lino Tagliapietra has been
described as the world's greatest glassblower, a figure born from
the five-hundred-year-old culture of Venetian glass, but one who
also revolutionized glass as a discipline, inventing new techniques
to create his masterful works. Even more astonishing, as
Tagliapietra hit his full stride, he has become a notable figure in
the unfolding story of modern sculpture - an artist whose
distinctive works are coveted by collectors of contemporary
abstract art and whose vision makes us think about art history in
new and profound ways. This is the most comprehensive monograph
available on his work and features insightful texts by Glenn
Adamson and Henry Adams, as well as hundreds of new photographs,
which showcase the impressive breadth and depth of Taglipietra's
repertoire.
The catalogue Tunnel presents works from 2018 to 2023 by ceramicist
Johannes Nagel (*1979). The majority of the objects were formed by
the artist’s hands digging into sand to form cavities, negative
spaces, which were then molded and revealed using liquid porcelain.
By doing this, says co-author Esther Niebel, the artist imprints
his own presence in to the objects. In addition to the
extraordinary shapes thus created, expressive colours and the
painting of the objects play a central role in Nagel’s work.
Accompanied by essays, the excavated and cast pieces are presented
in full-page photographs in a staccato portrayal of objects and
ideas. Text in English and German.
Objects: USA 2020 hails a new generation of artist-craftspeople by
revisiting a groundbreaking event that redefined American art. In
1969, an exhibition opened at the Smithsonian Institution that
redefined American art. Objects: USA united a cohort of artists
inventing new approaches to art-making by way of craft media.
Subsequently touring to twenty-two museums across the country,
where it was viewed by over half a million Americans, and then to
eleven cities in Europe, the exhibition canonized such artists as
Anni Albers, Sheila Hicks, Wharton Esherick, Wendell Castle, and
George Nakashima, and introduced others who would go on to achieve
widespread art-world acclaim, including Dale Chihuly, Michele Oka
Doner, J. B. Blunk, and Ron Nagle. Objects: USA 2020 revisits this
revolutionary exhibition and its accompanying catalog - which has
become a bible of sorts to curators, gallerists, dealers,
craftspeople, and artists - by pairing fifty participants from the
original exhibition with fifty contemporary artists representing
the next generation of practitioners to use - and upend - the
traditional methods and materials of craft to create new forms of
art. Published to coincide with an exhibition of the same title at
the renowned gallery R & Company, and featuring essays by some
of the foremost authorities on craft at the intersection of art,
including Glenn Adamson, curator and former director of the Museum
of Arts & Design; James Zemaitis, curator and former head of
twentieth-century design at Sotheby's; and Lena Vigna, curator of
exhibitions at the Racine Art Musuem; an interview with Paul J.
Smith, the cocurator of Objects: USA 2020 is an essential art
historical reference that traces how craft was elevated to the
status of museum-quality art, and sets its trajectory forward.
The first monograph on the work of a groundbreaking artist in
stained glass. From her start in the 1980s, Judith Schaechter (b.
1961) has stretched the medium of stained glass into an incisive
art form for the twenty-first century, boldly paving her path in
the diverse arena of contemporary art. With deep respect for
history, a provocative rebelliousness, and a feminist sensibility,
Schaechter has aptly been called a "post-punk stained-glass
sorceress." This catalog accompanies "The Path to Paradise: Judith
Schaechter's Stained-Glass Art", the first survey and major
scholarly assessment of this groundbreaking artist's 37-year
career. This catalog explores the range of critical registers
Schaechter's work spans, illuminating and contextualizing the
artist's unique contributions to the contemporary canon. Published
in association with the Memorial Art Gallery, Rochester NY
From the canonical texts of the Arts and Crafts Movement to the
radical thinking of today's "DIY" movement, from theoretical
writings on the position of craft in distinction to Art and Design
to how-to texts from renowned practitioners, from feminist
histories of textiles to descriptions of the innovation born of
necessity in Soviet factories and African auto-repair shops...The
Craft Reader presents the first comprehensive anthology of writings
on modern craft. Covering the period from the Industrial Revolution
to today, the Reader draws on craft practice and theory from
America, Europe, Asia and Africa. The world of craft is considered
in its full breadth -- from pottery and weaving, to couture and
chocolate-making, to contemporary art, architecture and curation.
The writings are themed into sections and all extracts are
individually introduced, placing each in its historical, cultural
and artistic context. Bringing together an astonishing range of
both classic and contemporary texts, The Craft Reader will be
invaluable to any student or practitioner of Craft and also to
readers in Art and Design. AUTHORS INCLUDE: Theodor Adorno, Anni
Albers, Amadou Hampate Ba, Charles Babbage, Roland Barthes, Andrea
Branzi, Alison Britton, Rafael Cardoso, Johanna Drucker, Charles
Eames, Salvatore Ferragamo, Kenneth Frampton, Alfred Gell, Walter
Gropius, Tanya Harrod, Martin Heidegger, Patrick Heron, Bernard
Leach, Esther Leslie, W. R. Lethaby, Lucy Lippard, Adolf Loos, Karl
Marx, William Morris, Robert Morris, Laszlo Moholy-Nagy, Stefan
Muthesius, George Nakashima, Octavio Paz, Grayson Perry, M. C.
Richards, John Ruskin, Raphael Samuel, Ellen Gates Starr, Debbie
Stoller, Alexis de Tocqueville, Lee Ufan, Frank Lloyd Wright
Globalism is often discussed using abstract terms, such as
'networks' or 'flows' and usually in relation to recent history.
Global Design History moves us past this limited view of globalism,
broadening our sense of this key term in history and theory.
Individual chapters focus our attention on objects, and the stories
they can tell us about cultural interactions on a global scale.
They place these concrete things into contexts, such as trade,
empire, mediation, and various forms of design practice. Among the
varied topics included are: the global underpinnings of Renaissance
material culture the trade of Indian cottons in the
eighteenth-century the Japanese tea ceremony as a case of 'import
substitution' German design in the context of empire handcrafted
modernist furniture in Turkey Australian fashions employing
'ethnic' motifs an experimental UK-Ghanaian design partnership
Chinese social networking websites the international circulation of
contemporary architects. Featuring work from leading design
historians, each chapter is paired with a 'response', designed to
expand the discussion and test the methodologies on offer. An
extensive bibliography and resource guide will also aid further
research, providing students with a user friendly model for
approaches to global design. Global Design History will be useful
for upper-level undergraduate and postgraduate students, academics
and researchers in design history and art history, and related
subjects such as anthropology, craft studies and cultural
geography.
Nina Malterud is one of Norway's most prominent ceramics artists.
Over the course of her five-decade-long career, she has developed a
unique artistic oeuvre with references to traditional ceramic
objects like plates, bowls, and tiles, but the emphasis is more on
expression than on function. She explores the possibilities of clay
and glazes in a free and undogmatic way, and is open to the visual
results that can arise through controlled coincidences. The traces
of the process are an essential part of her visual language.
Sometimes the motifs are recognizable, but for the most part, she
works with abstraction. The pieces radiate both tenderness and
fragility, strength, and power. Combined with the materiality and
weight of ceramics, the results are artworks with a strong sensory
appeal.
Today's artists have an unprecedented level of choice with regard
to materials and methods available to them, yet the processes
involved in making artworks are rarely addressed in books or
exhibitions on art. Here, Glenn Adamson and Julia Bryan-Wilson
argue that the materials and methods used to make artworks hold the
key to artists' motivations, their attitudes to authorship,
uniqueness and the value of objects, the economic and social
contexts from which they emerge, and their approach to the
perceived opposition between materiality and conceptualism in art.
The book's introduction sets out a history of trends in artistic
production and the possible catalysts for the proliferation of
production strategies since the mid-twentieth century, followed by
nine chapters that explore different methods and media. Detailed
examples are interwoven with the discussion, including visuals that
reveal the intricacies of each technique or material and its
overall effect when presented as an artwork. Artists featured
include Ai Weiwei, Ron Arad, Chris Burden, Katharina Fritsch, Isa
Genzken, Jeff Koons, Los Carpinteros, Haroon Mirza, Takashi
Murakami, Gerhard Richter, Doris Salcedo and Santiago Sierra
Surfaces are often held to be of lesser consequence than 'deeper'
or more 'substantive' aspects of artworks and objects. Yet it is
also possible to conceive of the surface in more positive terms: as
a site where complex forces meet. Surfaces can be theorized as
membranes, protective shells, sensitive skins, even thicknesses in
their own right. The surface is not so much a barrier to content as
an opportunity for encounter: in new objects, the surface is the
site of qualities of finish, texture, the site of tactile
interaction, the last point of contact between object and maker,
and the first point of contact between object and user. Surface
tensions includes sixteen essays that explore this theoretically
uncharted terrain. The subjects range widely: domestic maintenance;
avant-garde fashion; the faking of antiques; postmodern
architecture and design; contemporary film costume. Of particular
emphasis within the volume are textiles, which are among the most
complex and culturally rich materialisations of surface. As a
whole, the book provides insights into the whole lifecycle of
objects, not just their condition when new. -- .
Co-published in Association with the Victoria and Albert Museum,
London This book is a timely and engaging introduction to the way
that artists working in all media think about craft. Workmanship is
key to today's visual arts, when high 'production values' are
becoming increasingly commonplace. Yet craft's centrality to
contemporary art has received little serious attention from critics
and historians. Dispensing with cliched arguments that craft is
art, Adamson persuasively makes a case for defining craft in a more
nuanced fashion. The interesting thing about craft, he argues, is
that it is perceived to be 'inferior' to art. The book consists of
an overview of various aspects of this second-class identity -
supplementarity, sensuality, skill, the pastoral, and the amateur.
It also provides historical case studies analysing craft's role in
a variety of disciplines, including architecture, design,
contemporary art, and the crafts themselves. Thinking Through Craft
will be essential reading for anyone interested in craft or the
broader visual arts.
For the past twenty years, New York-based design gallery R &
Company has been a pioneer in discovering, curating, archiving, and
presenting rare, exceptional, and iconic works to individuals and
institutions. Through their groundbreaking exhibitions and
publications, the gallery has been at the forefront of the
collectible design movement. Published on the occasion of the R
& Company's twentieth anniversary, this book offers four new
critical perspectives on the designers, themes, and emerging trends
R & Company has uncovered, re-discovered, and elevated,
including: the emergence of a market for Brazilian design; the
championing of un- heralded American midcentury masters; the
fostering of a craft-forward contemporary design program; and the
gallery's passion for so-called "difficult" design. Unfolding
through essays from leading writers on art, design, and craft, and
illustrated by hundreds of archival, new, and behind-the-scenes
gallery images, interior photos of the collectors' homes, and
designers' studios, it is a dynamic overview of the design market's
explosive past two decades, and its vibrant future.
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Wendell Castle Remastered (Hardcover)
Glenn Adamson, Ronald T. Labaco, Lowery Stokes Sims, Steven J Jackson, Samantha de Tillio, …
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R1,201
R1,039
Discovery Miles 10 390
Save R162 (13%)
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Ships in 12 - 17 working days
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A master furniture maker, designer, sculptor, and educator, Wendell
Castle is in his sixth decade of a fruitful and creative career
that began in 1958 and that parallels the emergence and growth of
the American studio craft movement. The solo exhibition at the
Museum of Arts and Design that this book accompanies runs from
October 20 2015 to February 28 2016.
A 'vessel for living' - such were the words Glenn Adamson used to
describe this remarkable residence. Richard Meier designed the
Grotta home to house Sandra and Louis Grotta's collection of
contemporary studio jewellery and significant works in wood,
ceramic and fibre. The building was conceived around the
collection, framing the objects within the open architecture, which
comprises an equal blend of glass and concrete. Nature, visible
from many vantage points, plays an essential supporting role. The
Grotta Home by Richard Meier: A Marriage of Architecture and Craft
is rich in photographs of the collection and provides impressive
insights into this exceptionally personal project. The accompanying
essays afford the reader a greater sense of how the Grottas have
not simply acquired art, but have immersed themselves in it.
Glenn Adamson's last book, Thinking Through Craft, offered an
influential account of craft's position within modern and
contemporary art. Now, in his engaging sequel, The Invention of
Craft, his theoretical discussion of skilled work is extended back
in time and across numerous disciplines. Adamson searches out the
origins of modern craft, locating its emergence in the period of
the industrial revolution. He demonstrates how craft was invented
as industry's "other", a necessary counterpart to ideas of progress
and upheaval. In the process, the magical and secretive culture of
artisans was gradually dominated through division and explication.
This left craft with an oppositional stance, a traditional or
anti-modern position. The Invention of Craft ranges widely across
media, from lock-making, wood-carving and iron-casting to fashion,
architecture and design. It also moves back and forth between
periods, from the 18th century to the present day, demonstrating
how contemporary practice can be informed through the study of
modern craft in its moment of invention.
Craft is a diverse, democratic art form practiced by Americans of
every gender, age, ethnicity, and class. Crafting America traces
this expansive range of skilled making in a variety of forms, from
ceramics and wood to performance costume and community-based
practice. A companion to an exhibition curated at Crystal Bridge
Museum of American Art, this publication explores the
interdisciplinary contexts of the assembled works, featuring
contributions from scholars with expertise in art history, American
studies, folklore, and museum studies. Essays delve into subjects
including craft's relationship to ritual and memory, personal
independence, abstraction, and the particular significance of craft
within Native American histories. Within the catalog section,
groupings of works discussed in detail highlight relationships
between objects and move beyond limiting categories of craft and
art, function and expression, and tradition and innovation. This
publication addresses the intertwined quality of craft and American
experience, revealing how craft has been a means to realize the
values of life, liberty, and the pursuit of happiness for
individuals from diverse backgrounds. Over 100 full-color
illustrations present a vivid picture of American craft from the
past eight decades. Building upon recent advances in craft
scholarship and encouraging more inclusive narratives that look
across media in art history, Crafting America presents a bold
statement on the vital role of craft within the broader context of
American art and identity. Published in collaboration with Crystal
Bridges Museum of American Art and University of Arkansas School of
Art.
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Kapwani Kiwanga: Off-Grid (Paperback)
Kapwani Kiwanga; Edited by Massimiliano Gioni, Madeline Weisburg; Foreword by Lisa Phillips; Text written by Glenn Adamson, …
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R676
R616
Discovery Miles 6 160
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Studio Job redefines the applied arts for the contemporary age. Job
Smeets and Nynke Tynagel's collaboration creates highly expressive
work where the physical potential of the materials they use-often
bronze or laser-cut marquetry-is pushed to the limit, with an
approach more in keeping with that of traditional guilds than
industrial design. Studio Job: Monkey Business includes
furnishings, sculptures, exhibitions, commissioned interiors, and
the designers' own home, tracing the past five years of Studio
Job's creative vision. Opulent, intricate, and ironic, the work of
Studio Job combines an extraordinarily high level of craftsmanship
with extreme ornamentation. Studio Job draws from the traditional
and the topical, the organic and the artificial. With design
inspired by illuminated manuscripts and more than 200 sketches,
concept renderings, and photographs, Studio Job: Monkey Business is
the ultimate expression of two of the most influential designers
working today.
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