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A critical look at the competing motivations behind one of modern
architecture’s most widely known and misunderstood movements
 Although “mid-century modern” has evolved into a highly
popular and ubiquitous architectural style, this term obscures the
varied perspectives and approaches of its original practitioners.
In Nothing Permanent, Todd Cronan displaces generalizations with a
nuanced intellectual history of architectural innovation in
California between 1920 and 1970, uncovering the conflicting
intentions that would go on to reshape the future of American
domestic life. Focusing on four primary figures—R. M. Schindler,
Richard Neutra, and Charles and Ray Eames—Nothing Permanent
demonstrates how this prolific era of modern architecture in
California, rather than constituting a homogenous movement, was
propelled by disparate approaches and aims. Exemplified by the twin
pillars of Schindler and Neutra and their respective ideological
factions, these two groups of architects represent opposing poles
of architectural intentionality, embodying divergent views about
the dynamic between interior and exterior, the idea of permanence,
and the extent to which architects could exercise control over the
inhabitants of their structures. Looking past California
modernism’s surface-level idealization in present-day style
guides, home decor publications, films, and television shows,
Nothing Permanent details the intellectual, aesthetic, and
practical debates that lie at the roots of this complex
architectural moment. Extracting this period from its diffusion
into visual culture, Cronan argues that mid-century architecture in
California raised questions about the meaning of architecture and
design that remain urgent today.
A revelatory resituation of Van Gogh's familiar works in the
company of the surprising variety of nineteenth-century art and
literature he most revered Vincent van Gogh's (1853-1890)
idiosyncratic style grew out of a deep admiration for and
connection to the nineteenth-century art world. This fresh look at
Van Gogh's influences explores the artist's relationship to the
Barbizon School painters Jean-Francois Millet and Georges
Michel-Van Gogh's self-proclaimed mentors-as well as to Realists
like Jean-Francois Raffaelli and Leon Lhermitte. New scholarship
offers insights into Van Gogh's emulation of Adolphe Monticelli,
his absorption of the Hague School through Anton Mauve and Jozef
Israels, and his keen interest in the work of the Impressionists.
This copiously illustrated volume also discusses Van Gogh's
allegiance to the colorism of Eugene Delacroix, as well as his
alliance with the Realist literature of Charles Dickens and George
Eliot. Although Van Gogh has often been portrayed as an insular and
tortured savant, Through Vincent's Eyes provides a fascinating deep
dive into the artist's sources of inspiration that reveals his
expansive interest in the artistic culture of his time. Published
in association with the Santa Barbara Museum of Art Published in
association with the Santa Barbara Museum of Art Exhibition
Schedule: Columbus Museum of Art (November 12, 2021-February 6,
2022) Santa Barbara Museum of Art (February 27-May 22, 2022)
A critical look at the competing motivations behind one of modern
architecture's most widely known and misunderstood movements
Although "mid-century modern" has evolved into a highly popular and
ubiquitous architectural style, this term obscures the varied
perspectives and approaches of its original practitioners. In
Nothing Permanent, Todd Cronan displaces generalizations with a
nuanced intellectual history of architectural innovation in
California between 1920 and 1970, uncovering the conflicting
intentions that would go on to reshape the future of American
domestic life. Focusing on four primary figures-R. M. Schindler,
Richard Neutra, and Charles and Ray Eames-Nothing Permanent
demonstrates how this prolific era of modern architecture in
California, rather than constituting a homogenous movement, was
propelled by disparate approaches and aims. Exemplified by the twin
pillars of Schindler and Neutra and their respective ideological
factions, these two groups of architects represent opposing poles
of architectural intentionality, embodying divergent views about
the dynamic between interior and exterior, the idea of permanence,
and the extent to which architects could exercise control over the
inhabitants of their structures. Looking past California
modernism's surface-level idealization in present-day style guides,
home decor publications, films, and television shows, Nothing
Permanent details the intellectual, aesthetic, and practical
debates that lie at the roots of this complex architectural moment.
Extracting this period from its diffusion into visual culture,
Cronan argues that mid-century architecture in California raised
questions about the meaning of architecture and design that remain
urgent today.
"WHAT'S NEEDED-IS NO REST," Aleksandr Rodchenko declared in the
"Manifesto of the Constructivist Group." We must "go out into all
kinds of production anywhere where there is an artistic need." This
book is a synthesis of Rodchenko, Brecht and Eisenstein. Amongst
the most influential artists of the interwar period, and among the
most influential political artists of the century, between them
they tried to develop a socialist theory of art, and a red
aesthetic centered around removing barriers to 'production'. The
book is an urgently needed intervention into mainstream
interpretations of political art in the twentieth century - and
therefore, into the understanding of the relationship between
aesthetics and politics. Working in different media-sculpture,
posters, photography (Rodchenko), theater (Brecht) and film
(Eisenstein)-and in different but often overlapping geographical
contexts-Russia, Germany and in Hollywood-they shared a vision of
artistic will as the defining quality of leftist art in an age
defined by political extremism. This is a deeply controversial and
deeply convincing set of arguments, that go right to the heart of
contemporary philosophical debates about the relation between
aesthetics and politics.
For nearly fifty years the humanities have been confined by a
series of critiques: of the subject, of representation, of the
visual, of modernism, of autonomy, of intention, of art itself. In
their place various "materialities" have appeared: signs,
identities, bodies, history, and works. Against Affective Formalism
challenges these orthodoxies. "What I am after, above all, is
expression," Henri Matisse declared. Matisse believed that through
the careful arrangement of line and color he could transmit his
feelings directly to the minds and bodies of his viewers. Yet
Matisse continually struggled with the reality that his feelings
were misunderstood-or simply ignored-by viewers of his art. Matisse
oscillates between a desire for expressive command over the viewer
and a sense of the impossibility of making himself known. Against
Affective Formalism confronts modernism's dissatisfactions with
representation. As Todd Cronan explains, a central tenet of
modernist thought turns on the effort to overcome representation in
the name of something more explicit in its capacity to generate
bodily or affective experience. Henri Bergson was one of the most
influential advocates of the antirepresentational impulse; his
novel theories of memory and freedom gripped a generation of
writers, philosophers, psychologists, and artists. Matisse and
Bergson worked within and against the context of form and
expression that remains in force today. Writing in opposition to
prevailing theories and assumptions about the relation of intention
and form-most of which accept the "death of the author" as a basic
fact of interpretation-Cronan argues that the beholder's response
to art, outside a framework of intentionality, is irrelevant to a
work's meaning. Intentions are not a matter of method at all: no
letter, biography, document, archive, or key will recover an
intention. What matters is that intentions make works of art
different from objects in the world.
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