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Infrastructure and Mobility in Asia
Thirty years ago, few residents of Asian cities had ever been on a plane, much less outside their home countries. Today, flying, and flying abroad, is commonplace. How has this leap in cross-border mobility affected the design and use of such cities? And how is it accelerating broader socioeconomic and political changes in Asian societies?
In Airport Urbanism, Max Hirsh undertakes an unprecedented study of airport infrastructure in five Asian cities—Bangkok, Hong Kong, Shenzhen, Kuala Lumpur, and Singapore. Through this lens he examines the exponential increase in international air traffic and its implications for the planning and design of the contemporary city. By investigating the low-cost, informal, and transborder transport systems used by new members of the flying public—such as migrant workers, retirees, and Asia’s emerging middle class—he uncovers an architecture of incipient global mobility that has been inconspicuously inserted into places not typically associated with the infrastructure of international air travel.
Drawing on material gathered in restricted zones of airports and border control facilities, Hirsh provides a fascinating, up-close view of the mechanics of cross-border mobility. Moreover, his personal experience of growing up and living on three continents inflects his analyses with unique insight into the practicalities of international migration and into the mindset of people on the move.
An American Visionary--Paintings and Works on Paper
Presenting the unique vision of an American original . . . Alexandre Hogue, a renowned artist whose career spanned from the 1920s to his death in 1994, inherited the view of an America that imagined itself as filled with limitless potential for improvement, that considered high art and great ideas accessible to ordinary working people, and that saw no reason for an intellectual chasm between a learned elite and the masses. He always viewed himself as a radical, yet his passion stemmed from a deeply conservative idea: that art, culture, and nature should form a central force in the life of every human being. His well-known Dust Bowl series labeled him as a regionalist painter, but Hogue never accepted that identity. His work reveals the spirit of Texas and the Southwest as he experienced it for nearly a century. In his later years Hogue worked in forms of crisply rendered nonobjective and calligraphic one-liner paintings. Bringing to light new information regarding the Erosion and Oil Industry series, this book gives special attention to lesser known, post-1945 works, in addition to the awe-inspiring Moon Shot and final Big Bend series. Each series—from the hauntingly beautiful Taos landscapes and prophetic canvases of a dust-covered Southwest to his depictions of the fierce geological phenomena of the Big Bend—serves as a paean to the awesomeness of nature. Houston-based curator and critic Susie Kalil grew close to Hogue from 1986 to 1994, a time during which she interviewed him, considered his oeuvre with him, and came to share his vision of the nature and purposes of art. In Alexandre Hogue she reveals Hogue as he presented himself and his work to her. Collections with Alexandre Hogue's paintings: Musee National D'Art Moderne, Pompidou, Paris DallasMuseum of Art Museum of Fine Arts, Houston The GilcreaseMuseum, Tulsa The Philbrook Museum of Art, Tulsa University of Tulsa Tulsa Performing ArtsCenter Smithsonian Institution (NationalMuseum of American Art), Washington, DC OklahomaMuseum of Art, Okla City The SheldonMuseum of Art, University of Nebraska, Lincoln PhoenixArt Museum University of Arizona, Tucson Art Museum of SouthTexas, Corpus Christi Panhandle Plains Historical Museum, Canyon, Tx. StarkMuseum, Orange, Tx Southern MethodistUniversity, Dallas SpringfieldArt Museum, Springfield, Missouri WeatherspoonArt Museum, University of North Carolina at Greensboro The Federal Reserve Bank, Dallas The Williams Companies, Tulsa
A Woman's Search for Manet's Notorious Model and Her Own Desire
Eunice Lipton was a fledging art historian when she first became intrigued by Victorine Meurent, the nineteenth-century model who appeared in Edouard Manet's most famous paintings, only to vanish from history in a haze of degrading hearsay. But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death-or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off layers of lies to reveal startling truths about Victorine Meurent-and about Lipton herself.
Experimental Encounters with Art in the Making
Art and Religion in John Ruskin
The volume looks especially closely at Ruskin's changing attitudes to Catholicism. The son of a stoutly Bible-Protestant mother and a father politically opposed to the civil emancipation of Catholics, Ruskin found it increasingly difficult to combine his inherited anti-Catholicism with his appreciation of Byzantine-Venetian, Renaissance-humanist, and Franciscan-evangelical art and the program for living these contained or implied. The rumors in late life of his immanent conversion to Rome proved unfounded, but they were not implausible. All Great Art is Praise seeks to show why
Living Myth and Architectonics in Southern China
Allegorical Architecture offers the first detailed architectural analysis of built forms and building types of the minority groups in southern China and of the Dong nationality in particular. It argues that Dong architecture symbolically resembles its inhabitants in many ways. The built world is an extension of their body and mind; their experience of architecture is figurative and their understanding of it allegorical. Unlike the symbolism of historical architecture, which must be decoded through a speculative reconstruction of the past, the Dong tell stories about inhabitants in their living state in the recurrent process of ritualistic making and inhabiting of their built world. This book thus offers architectural analysis of both spatial dispositions (building types) and social life (the workings of buildings). Xing Ruan likens the built world to allegory to develop an alternative to textual understanding. The allegorical analogy enables him to decipher minority architecture less as a didactic "text" and more as a "shell," the inhabitation of which enables the Dong to renew and reinvent continually the myths and stories that provide them with an assurance of home and authenticity. Attention is focused less on the supposed meanings (symbolic, practical) of the architecture and more on how it is used, inhabited, and hence understood by people. Throughout, Ruan artfully avoids the temptation to textualize the built world and read from it all sorts of significance and symbolism that may or may not be shared by the inhabitants themselves. By likening architecture to allegory, he also subtlety avoids the well-worn path of accounting for rich traditions via a "salvage ethnography"; on the contrary, he argues that cultural reinvention is an ongoing process and architecture is one of the fundamental ingredients to understanding that process. Ruan offers "thick description" of Dong architecture in an attempt to understand the workings of architecture in the social world. Paying attention to Dong architecture within a regional as well as a global context makes it possible to combine detailed formal analysis of settlement patterns and building types and their spatial dispositions with their effects in a social context. Architecture, in a broad sense, is assumed to be an art form in which the feelings and lives of its makers and inhabitants are embodied. The artifice of architecture—its physical laws—is therefore analyzed and contested in terms of its instrumental capacity. Allegorical Architecture is a work of refreshing originality and compelling significance. It will provide timely lessons for those concerned with the meaning and social sustainability of the built world and will appeal to architects, planners, cultural geographers, anthropologists, historians, and students of these disciplines.
Japanese Identity in Photography and Architecture
Allegories of Time and Space explores efforts by leading photographers, artists, architects, and commercial designers to re-envision Japanese cultural identity during the turbulent years between the Asia Pacific War and the bursting of the economic bubble in the 1990s. This search for a cultural home was a matter of broad public concern, and each of the artists under consideration engaged a wide audience through mass media. The artists had in common the necessity to establish distance from their immediate surroundings temporally or geographically in order to gain some perspective on Japan’s rapidly changing society. They shared what Jonathan Reynolds calls an allegorical vision, a capacity to make time and space malleable, to see the present in the past and to find an irreducible cultural center at Japan’s geographical periphery.
The book begins with an examination of the work of Hamaya Hiroshi, whose images of village life expressed a nostalgia for the rural past widely shared by urban Japanese. Reynolds identifies a similar strategy in photographer Tōmatsu Shōmei’s search for an authentic Japan. The self-styled iconoclast Okamoto Tarō emphatically rejected the delicate refinement conventionally associated with Japanese art in favor of the dynamic aesthetics he saw expressed on prehistoric Jōmon-period ceramics; architect Tange Kenzō likewise embraced Japan’s ancient past in his work. As a point of comparison, Reynolds looks at the Shintō shrine complex at Ise as portrayed in a volume produced with photographer Watanabe Yoshio. He shows how this landmark book re-presented the shrine architecture as design consistent with rigorous modernist aesthetics. In the advertising posters of Ishioka Eiko and the ephemeral “nomadic” architecture of Itō Toyoo from the 1970s and 1980s, Reynolds reveals the threads linking urban nomad fantasies with earlier efforts to situate contemporary Japanese cultural identity in time and space.
In its fresh and nuanced re-reading of the multiplicities of Japanese tradition during a tumultuous and transformative period, Allegories of Time and Space offers a compelling argument that the work of these artists enhanced efforts to redefine tradition in contemporary terms and, by doing so, promoted a future that would be both modern and uniquely Japanese.
Japanese Atmospheres of Self
Ambient Media examines music, video art, film, and literature as tools of atmospheric design in contemporary Japan, and what it means to use media as a resource for personal mood regulation. Paul Roquet traces the emergence of ambient styles from the environmental music and Erik Satie boom of the 1960s and 1970s to the more recent therapeutic emphasis on healing and relaxation.
Focusing on how an atmosphere works to reshape those dwelling within it, Roquet shows how ambient aesthetics can provide affordances for reflective drift, rhythmic attunement, embodied security, and urban coexistence. Musicians, video artists, filmmakers, and novelists in Japan have expanded on Brian Eno’s notion of the ambient as a style generating “calm, and a space to think,” exploring what it means to cultivate an ambivalent tranquility set against the uncertain horizons of an ever-shifting social landscape. Offering a new way of understanding the emphasis on “reading the air” in Japanese culture, Ambient Media documents both the adaptive and the alarming sides of the increasing deployment of mediated moods.
Arguing against critiques of mood regulation that see it primarily as a form of social pacification, Roquet makes a case for understanding ambient media as a neoliberal response to older modes of collective attunement—one that enables the indirect shaping of social behavior while also allowing individuals to feel like they are the ones ultimately in control.