A bold new spatial perspective on modern sculpture, with 800 color images of work by artists including Henry Moore, Lygia Clark, Anish Kapoor, and Ana Mendieta.
This monumental, richly illustrated volume from ZKM Karlsruhe approaches modern sculpture from a spatial perspective, interpreting it though contour, emptiness, and levitation rather than the conventional categories of unbroken volume, mass, and gravity. It examines works by dozens of twentieth- and twenty-first-century artists, including Hans Arp, Marcel Duchamp, Henry Moore, Barbara Hepworth, Lygia Clark, Anish Kapoor, Olafur Eliasson, Ana Mendieta, Fujiko Nakaya, Tomás Saraceno, and Alicja Kwade. The large-scale book contains over 800 color images.
Negative Space comes out of an epic exhibition at ZKM, and volume editor Peter Weibel (Chairman and CEO of ZKM) takes a curatorial approach to the topic. The last exhibition to deal comprehensively with the question "What is modern sculpture?" was at the Centre Georges Pompidou in 1986. Weibel and ZKM pick up where the Pompidou left off, examining sculptures not as figurative, solid, and self-contained monoliths but in terms of open and hollow spaces; reflection, light, shadow; innovative materials; data; and the moving image. Weibel puts advances in science, architecture, and mathematics in the context of avant-garde sensibilities to show how modern sculpture significantly deviates from the work of the past. Texts in the volume include an introduction and twelve chapters written by Weibel with contributions by cocurators as well as facsimiles and reproductions of artist-authored manifestos.
Ce livre historique abondamment illustré raconte comment quelques riches américaines, en tant que clientes et porteuses d'influence, ont favorisé l'émergence de la haute couture française à la fin du XIXe siècle.
Essays on a range of photographic topics by the recently appointed chief curator of photography at MoMA.
This volume offers a selection of essays by the renowned photography historian Clément Chéroux. Chéroux, appointed chief curator of photography at the Museum of Modern Art (MoMA) in New York in 2020, takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. The texts, published together in one volume for the first time and newly translated into English, reflect the breadth of Chéroux's thinking, the rigor of his approach, and his endless curiosity about photographs.
In this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux's innovative investigations of the histories of photography.
There's more to Banksy than the painting on the wall: the first in-depth investigation into the mysteries of the world's most famous living artist.
Banksy is the world's most famous living artist, yet no one knows who he is. For more than twenty years, his wryly political and darkly humorous spray paintings have appeared mysteriously on urban walls around the globe, generating headlines and controversy. Art critics disdain him, but the public (and the art market) love him. With this generously illustrated book, artist and critic Carol Diehl is the first author to probe the depths of the Banksy mystery. Through her exploration of his paintings, installations, writings, and Academy Award-nominated film, Exit through the Gift Shop, Diehl proves unequivocally that there's more to Banksy than the painting on the wall.
Seeing Banksy as the ultimate provocateur, Diehl investigates the dramas that unfold after his works are discovered, with all of their social, economic, and political implications. She reveals how this trickster rattles the system, whether during his month-long 2013 self-styled New York residency or his notorious Dismaland of 2015, a full-scale dystopian family theme park unsuitable for children dedicated to the failure of capitalism. Banksy's work, Diehl shows, is a synthesis of conceptual art, social commentary, and political protest, played out not in museums but where it can have the most effect--on the street, in the real world. The questions Banksy raises about the uses of public and private property, the role of the global corporatocracy, the never-ending wars, and the gap between artworks as luxury goods and as vehicles of social expression, have never been more relevant.
The power of design to create a life worth living even in a refugee camp: designs, inventions, and artworks from the Azraq Refugee Camp in Jordan. This book shows how, even in the most difficult conditions--forced displacement, trauma, and struggle--design can help create a life worth living. Design to Live documents designs, inventions, and artworks created by Syrian refugees living in the Azraq Refugee Camp in Jordan. Through these ingenious and creative innovations--including the vertical garden, an arrangement necessitated by regulations that forbid planting in the ground; a front hall, fashioned to protect privacy; a baby swing made from recycled desks; and a chess set carved from a broomstick--refugees defy the material scarcity, unforgiving desert climate, and cultural isolation of the camp. Written in close collaboration with the residents of the camp, with text in both English and Arabic, Design to Live, reflects two perspectives on the camp: people living and working in Azraq and designers reflecting on humanitarian architecture within the broader field of socially engaged art and design. Architectural drawings, illustrations, photographs, narratives, and stories offer vivid testimony to the imaginative and artful ways that residents alter and reconstruct the standardized humanitarian design of the camp--and provide models that can be replicated elsewhere. The book is the product of a three-year project undertaken by MIT Future Heritage Lab, researchers and students with Syrian refugees at the Azraq Refugee Camp, CARE, Jordan, and the German-Jordanian University. Copublication with Future Heritage Lab, MIT
The story of the arcane table-top game that became a pop culture phenomenon and the long-running legal battle waged by its cocreators.
When Dungeons & Dragons was first released to a small hobby community, it hardly seemed destined for mainstream success--and yet this arcane tabletop role-playing game became an unlikely pop culture phenomenon. In Game Wizards, Jon Peterson chronicles the rise of Dungeons & Dragons from hobbyist pastime to mass market sensation, from the initial collaboration to the later feud of its creators, Gary Gygax and Dave Arneson. As the game's fiftieth anniversary approaches, Peterson--a noted authority on role-playing games--explains how D&D and its creators navigated their successes, setbacks, and controversies.
Peterson describes Gygax and Arneson's first meeting and their work toward the 1974 release of the game; the founding of TSR and its growth as a company; and Arneson's acrimonious departure and subsequent challenges to TSR. He recounts the Satanic Panic accusations that D&D was sacrilegious and dangerous, and how they made the game famous. And he chronicles TSR's reckless expansion and near-fatal corporate infighting, which culminated with the company in debt and overextended and the end of Gygax's losing battle to retain control over TSR and D&D.
With Game Wizards, Peterson restores historical particulars long obscured by competing narratives spun by the one-time partners. That record amply demonstrates how the turbulent experience of creating something as momentous as Dungeons & Dragons can make people remember things a bit differently from the way they actually happened.
B>An examination of the contemporary medicalization of death and dying that calls us to acknowledge instead death''s existential and emotional realities./b>br>br>Death is a natural, inevitable, and deeply human process, and yet Western medicine tends to view it as a medical failure. In their zeal to prevent death, physicians and hospitals often set patients and their families on a seemingly unstoppable trajectory toward medical interventions that may actually increase suffering at the end of life. This volume in the MIT Press Essential Knowledge series examines the medicalization of death and dying and proposes a different approach--one that acknowledges death''s existential and emotional realities.br>The authors--one an academic who teaches and studies end-of-life care, and the other a physician trained in hospice and palliative care--offer an account of Western-style death and dying that is informed by both research and personal experience. They examine the medical profession''s attitude toward death as a biological dysfunction that needs fixing; describe the hospice movement, as well as movements for palliative care and aid in dying, and why they failed to influence mainstream medicine; consider our reluctance to have end-of-life conversations; and investigate the commodification of medicine and the business of dying. To help patients die in accordance with their values, they say, those who care for the dying should focus less on delaying death by any means possible and more on being present with the dying on their journey.
How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles.
The designed things, experiences, and symbols that we use to perceive, understand, and perform our everyday lives are much more than just props. They directly shape how we live. In Design after Capitalism, Matthew Wizinsky argues that the world of industrial capitalism that gave birth to modern design has been dramatically transformed. Design today needs to reorient itself toward deliberate transitions of everyday politics, social relations, and economies. Looking at design through the lens of political economy, Wizinsky calls for the field to transcend the logics, structures, and subjectivities of capitalism--to combine design entrepreneurship with social empowerment in order to facilitate new ways of producing those things, symbols, and experiences that make up everyday life.
After analyzing the parallel histories of capitalism and design, Wizinsky offers some historical examples of anticapitalist, noncapitalist, and postcapitalist models of design practice. These range from the British Arts and Crafts movement of the nineteenth century to contemporary practices of growing furniture or biotextiles and automated forms of production. Drawing on insights from sociology, philosophy, economics, political science, history, environmental and sustainability studies, and critical theory--fields not usually seen as central to design--he lays out core principles for postcapitalist design; offers strategies for applying these principles to the three layers of project, practice, and discipline; and provides a set of practical guidelines for designers to use as a starting point. The work of postcapitalist design can start today, Wizinsky says--with the next project.
A cartography of fragrance that charts the botany and geography of perfume composition.
For perfume makers, each smell carries with it a multitude of associations and impressions that must be carefully analyzed and understood before the sum of all its parts emerges. All perfumers have their own idiosyncratic methods, drawn from their individual olfactory experiences, for classifying fragrances. In Atlas of Perfumed Botany, virtuoso perfumer Jean-Claude Ellena leads readers on a poetic, geographic, and botanical journey of perfume discovery. Ellena offers a varied and fascinating cartography of fragrances, tracing historical connections and cultural exchanges. Full-page entries on plants ranging from bergamot to lavender are accompanied by detailed and vivid full-color botanical illustrations.
A systematic investigation of growth in nature and society, from tiny organisms to the trajectories of empires and civilizations. Growth has been both an unspoken and an explicit aim of our individual and collective striving. It governs the lives of microorganisms and galaxies; it shapes the capabilities of our extraordinarily large brains and the fortunes of our economies. Growth is manifested in annual increments of continental crust, a rising gross domestic product, a child''s growth chart, the spread of cancerous cells. In this magisterial book, Vaclav Smil offers systematic investigation of growth in nature and society, from tiny organisms to the trajectories of empires and civilizations. Smil takes readers from bacterial invasions through animal metabolisms to megacities and the global economy. He begins with organisms whose mature sizes range from microscopic to enormous, looking at disease-causing microbes, the cultivation of staple crops, and human growth from infancy to adulthood. He examines the growth of energy conversions and man-made objects that enable economic activities--developments that have been essential to civilization. Finally, he looks at growth in complex systems, beginning with the growth of human populations and proceeding to the growth of cities. He considers the challenges of tracing the growth of empires and civilizations, explaining that we can chart the growth of organisms across individual and evolutionary time, but that the progress of societies and economies, not so linear, encompasses both decline and renewal. The trajectory of modern civilization, driven by competing imperatives of material growth and biospheric limits, Smil tells us, remains uncertain.
Experiments in architectural education in the post-World War II era that challenged and transformed architectural discourse and practice.
In the decades after World War II, new forms of learning transformed architectural education. These radical experiments sought to upend disciplinary foundations and conventional assumptions about the nature of architecture as much as they challenged modernist and colonial norms, decentered building, imagined new roles for the architect, and envisioned participatory forms of practice. Although many of the experimental programs were subsequently abandoned, terminated, or assimilated, they nevertheless helped shape and in some sense define architectural discourse and practice. This book explores and documents these radical pedagogies and efforts to defy architecture's status quo.
The experiments include the adaptation of Bauhaus pedagogy as a means of "unlearning" under the conditions of decolonization in Africa; a movement to design for "every body," including the disabled, by architecture students and faculty at the University of California, Berkeley; the founding of a support network for women interested in the built environment, regardless of their academic backgrounds; and a design studio in the USSR that offered an alternative to the widespread functionalist approach in Soviet design. Viewed through their dissolution and afterlife as well as through their founding stories, these projects from the last century raise provocative questions about architecture's role in the new century.
B>An accessible introduction to the study of language in the brain, covering language processing, language acquisition, literacy, and language disorders./b>br>br>Neurolinguistics, the study of language in the brain,;describes the anatomical structures (networks of neurons in the brain) and physiological processes (ways for these networks to be active) that allow humans to learn and use one or more languages. It draws on neuroscience, linguistics--particularly theoretical linguistics--and other disciplines. In this volume in the MIT Press Essential Knowledge series,;Giosuè Baggio;offers an accessible introduction to the fundamentals of neurolinguistics, covering;language processing, language acquisition, literacy, and speech and language disorders.br>;br>Baggio first surveys the evolution of the field, describing discoveries by Paul Broca, Carl Wernicke, Noam Chomsky, and others. He discusses mapping language in brain time and brain space and the constraints of neurolinguistic models. Considering language acquisition, he explains that a child is never a blank slate: infants and young children are only able to acquire specific aspects of language in specific stages of cognitive development. He addresses the neural consequences of bilingualism; literacy, discussing how forms of visual language in the brain differ from forms of auditory language; aphasia and the need to understand language disorders in behavioral, functional, and neuroanatomical terms;;neurogenetics of language; and the neuroethology of language, tracing the origins of the neural and behavioral building blocks of human linguistic communication to;the evolution of avian, mammalian, and primate brains.br>;
An investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures.
Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is "not a writer of prose," and the texts included in Cuts-the most comprehensive collection of his writings yet published-appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters-public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON'T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as "Art and Capitalism," "Childhood," "Entropy (After Smithson)," "Matter," "My Work," "Other Artists," and "Poetry," and they include Andre's reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst.
Carl Andre's writing and its materiality-its stress on the visual and tactile qualities of language-takes its place beside his sculpture and its materiality, its revelation of "matter as matter rather than matter as symbol." Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. "I am not an idealist as an artist," says Andre. "I try to discover my visions in the conditions of the world. It's the conditions which are important."