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`Creative Solutions to a World in Crisis' is a manual for change, a
wakeup call for us to take back control over our lives before they
become irreversibly controlled. The book examines where we lost our
way: historically, socially, environmentally, agriculturally,
economically, technologically, and in law, education and spirit. It
demonstrates how to now resolve the key dilemmas brought about via
`wrong doing' in each of these spheres -and beyond. The book
focuses on pragmatic human scale resolutions to conflicting
socio-economic problems, proposing realisable `local' solutions as
an antidote to rapidly developing global crises. Through the
channelling of reawakened human energies into a process of root and
branch societal reform, the author foresees a `new renaissance' of
hope, creative endeavour that can reshape our perilous planetary
existence and lead to a deeper and more subtle relationship between
man and nature as well as between fellow human beings. Quite
simply: it is an uncompromising call for us to rise to meet the
challenge of our time.
Scholars and artists revisit a hugely influential essay by Rosalind
Krauss and map the interactions between art and architecture over
the last thirty-five years. Expansion, convergence, adjacency,
projection, rapport, and intersection are a few of the terms used
to redraw the boundaries between art and architecture during the
last thirty-five years. If modernists invented the model of an
ostensible "synthesis of the arts," their postmodern progeny
promoted the semblance of pluralist fusion. In 1979, reacting
against contemporary art's transformation of modernist
medium-specificity into postmodernist medium multiplicity, the art
historian Rosalind Krauss published an essay, "Sculpture in the
Expanded Field," that laid out in a precise diagram the structural
parameters of sculpture, architecture, and landscape art. Krauss
tried to clarify what these art practices were, what they were not,
and what they could become if logically combined. The essay soon
assumed a canonical status and affected subsequent developments in
all three fields. Retracing the Expanded Field revisits Krauss's
hugely influential text and maps the ensuing interactions between
art and architecture. Responding to Krauss and revisiting the
milieu from which her text emerged, artists, architects, and art
historians of different generations offer their perspectives on the
legacy of "Sculpture in the Expanded Field." Krauss herself takes
part in a roundtable discussion (moderated by Hal Foster). A
selection of historical documents, including Krauss's essay,
presented as it appeared in October, accompany the main text.
Neither eulogy nor hagiography, Retracing the Expanded Field
documents the groundbreaking nature of Krauss's authoritative text
and reveals the complex interchanges between art and architecture
that increasingly shape both fields. Contributors Stan Allen,
George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina,
Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal
Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon
Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve
Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew
Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene
Small, Philip Ursprung, Anthony Vidler
Between the covers of Overcoming the Robotic Mind - Why Humanity
Must Come Through is a cornucopia of vital information which will
combine to dispel the illusions of the unaware and put in place a
lucid vision of another way forward for mankind. Drawing upon his
highly diverse experiences as an actor, organic farming pioneer,
political activist, broadcaster, social entrepreneur, holistic
educator and international campaigner, Julian Rose presents a
compelling view of the way to break through the destructive
patterns of our consumption obsessed society, challenging his
audience to recognize life's bigger picture and to think and act
`outside the box'. Using an essay style to explore and expose a
wide range of contemporary planetary concerns, he calls for a rise
in consciousness, so that individuals can fully participate in
building a better future together. The book's title Overcoming the
Robotic Mind, concerns the author's expose of the anti-life
position of the Transhumanist agenda. An agenda that promotes the
notion that computer power will soon take over control of the human
mind. Through the channelling of reawakened energies into a process
of root and branch socio-economic reform and spiritual uplift,
Julian Rose foresees a renaissance of `bottom-up' creative
endeavour which can directly challenge the failed status quo;
reshape our planetary existence and lead to a deeper and more
subtle relationship being formed between man and nature, as well as
between fellow human beings. Quite simply: you are invited to
jump-in at the deep end and start swimming with energies that
reinvigorate your very soul and shine a beacon of light on the road
ahead.
This two-volume publication commemorates a trio of exhibitions by
the celebrated American artist Richard Serra. Shown simultaneously
in 2019 at Gagosian in New York, the three exhibitions presented
five new sculptures and more than twenty drawings by the artist,
offering a rare opportunity to view these two aspects of Serra s
practice together. Here, new photographs of all works, including
expansive installation views of the artist s large-scale
sculptures, are accompanied by an extensive essay by art historian
Julian Rose that provides insight into Serra s work in the context
of architecture and its history. Works featured in the publication
include a series of new diptych and triptych drawings; four new
works from Serra s Rounds series of forged-steel sculptures, each
composed of multiple 50-ton elements of differing diameters and
heights; and Reverse Curve, a sculpture measuring 99 feet long and
13 feet high that was originally conceived in 2005 and finally
realized for the first time as part of Serra s 2019 exhibitions.
The publication s two hardcover volumes, amply illustrated with
beautiful tritone and color reproductions, are gathered in a fabric
slipcase.
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