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Art and Architecture

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Architecture's Historical Turn Cover

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Architecture's Historical Turn

Phenomenology and the Rise of the Postmodern

Jorge Otero-Pailos

Architecture’s Historical Turn traces the hidden history of architectural phenomenology, a movement that reflected a key turning point in the early phases of postmodernism and a legitimating source for those architects who first dared to confront history as an intellectual problem and not merely as a stylistic question.
 
Jorge Otero-Pailos shows how architectural phenomenology radically transformed how architects engaged, theorized, and produced history. In the first critical intellectual account of the movement, Otero-Pailos discusses the contributions of leading members, including Jean Labatut, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton. For architects maturing after World War II, Otero-Pailos contends, architectural history was a problem rather than a given. Paradoxically, their awareness of modernism’s historicity led some of them to search for an ahistorical experiential constant that might underpin all architectural expression. They drew from phenomenology, exploring the work of Bachelard, Merleau-Ponty, Heidegger, and Ricoeur, which they translated for architectural audiences. Initially, the concept that experience could be a timeless architectural language provided a unifying intellectual basis for the stylistic pluralism that characterized postmodernism. It helped give theory—especially the theory of architectural history—a new importance over practice. However, as Otero-Pailos makes clear, architectural phenomenologists could not accept the idea of theory as an end in itself. In the mid-1980s they were caught in the contradictory and untenable position of having to formulate their own demotion of theory.
 
Otero-Pailos reveals how, ultimately, the rise of architectural phenomenology played a crucial double role in the rise of postmodernism, creating the antimodern specter of a historical consciousness and offering the modern notion of essential experience as the means to defeat it.

Archive Style Cover

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Archive Style

Photographs and Illustrations for U.S. Surveys, 1850-1890

Robin Kelsey

This imaginative study of American visual culture reveals how the political predicaments of a few small bureaucracies once fostered pictures of an extraordinary style. U.S. geographical and geological surveys of the late nineteenth century produced photographs and drawings of topography, American Indians, geologic features, botanical specimens, and specialists at work in the field. Some of these pictures have long been celebrated for their anticipation of a modernist aesthetic, but Robin Kelsey, in this abundantly illustrated volume, traces their modernistic qualities to archival ingenuity. The technical and promotional needs of surveys, Kelsey argues, fostered the emergence of a taut, graphic pictorial style that imitated the informational clarity of diagrams and maps. As this book demonstrates, these pictures became sites of struggle as well as innovation when three brilliant survey artists and photographers subtly resisted the programs they were hired to serve. Discovering a politics of style behind the modernist look of survey pictures, Kelsey offers a fresh interpretation of canonical western expedition photographs by Timothy H. O'Sullivan and introduces two exceptional but largely forgotten sets of pictures: views of the U.S.-Mexico boundary from the 1850s by Arthur Schott and photographs of the Charleston earthquake of 1886 by C. C. Jones.

 Cover
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Archives of Asian Art

Vol. 58 (2008) through current issue

Archives of Asian Art is an annual journal devoted to the arts of South, Southeast, Central, and East Asia. Each issue presents articles by leading scholars and a selection of outstanding works of Asian art acquired by North American museums during the previous year. The editors attempt to maintain a balanced representation of regions and types of art, as well as a variety of scholarly perspectives.

Argentine, Mexican, and Guatemalan Photography Cover

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Argentine, Mexican, and Guatemalan Photography

Feminist, Queer, and Post-Masculinist Perspectives

By David William Foster

Viewing the work of twelve prominent photographers, including Graciela Iturbide, Pedro Meyer, and Marcos López, this first far-ranging analysis of gendered perspectives in Latin American photography demonstrates the importance of this art form within Latin American cultural production.

Art Against Dictatorship Cover

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Art Against Dictatorship

Making and Exporting Arpilleras Under Pinochet

By Jacqueline Adams

This pioneering study of Chilean arpillera folk art and its makers, sellers, and buyers explores the creation of a solidarity art system and shows how art can be a powerful force for opposing dictatorship and empowering oppressed people.

The Art and Life of Clarence Major Cover

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The Art and Life of Clarence Major

Keith E. Byerman

Clarence Major is an award-winning painter, fiction writer, and poet—as well as an essayist, editor, anthologist, lexicographer, and memoirist. He has been part of twenty-eight group exhibitions, has had fifteen one-man shows, and has published fourteen collections of poetry and nine works of fiction. The Art and Life of Clarence Major is the first critical biography of this innovative African American writer and visual artist. Given the full cooperation of his subject, Keith E. Byerman traces Major's life and career from his complex family history in Georgia through his encounters with important literary and artistic figures in Chicago and New York to his present status as a respected writer, artist, teacher, and scholar living in California.

In his introduction, Byerman asks, “How does a black man who does not take race as his principal identity, an artist who deliberately defies mainstream rules, a social and cultural critic who wants to be admired by the world he attacks, and a creator who refuses to commit to one expressive form make his way in the world?” Tasking himself with opening up the multiple layers of problems and solutions in both the work and the life to consider the successes and the failures, Byerman reveals Major as one who has devoted himself to a life of experimental art that has challenged both literary and painterly practice and the conventional understanding of the nature of African American art. Major's refusal to follow the rules has challenged readers and critics, but through it all, he has continued to produce quality work as a painter, poet, and novelist. His is the life of someone totally devoted to his creative work, one who has put his artistic vision ahead of fame, wealth, and sometimes even family.

A Sarah Mills Hodge Fund Publication.

Art and Place Cover

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Art and Place

Essays on Art From a Hong Kong Perspective

David Clarke

The book brings together a series of essays about art in Hong Kong written over the last ten years, with the intention of offering a personal chronicle of the Hong Kong art world during a time of great change.

Art and Society in a Highland Maya Community Cover

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Art and Society in a Highland Maya Community

The Altarpiece of Santiago Atitlán

By Allen J. Christenson

A study of a major piece of modern Mayan religious art.

Art and the Market Cover

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Art and the Market

Roger Fry on Commerce in Art, Selected Writings, Edited with an Interpretation

Craufurd D. Goodwin

Roger Fry, a core member of the Bloomsbury Group, was involved with all aspects of the art market as artist, critic, curator, historian, journalist, advisor to collectors, and gallery operator. He is especially remembered as the person who introduced postimpressionist art to Britain. Reprinted in this volume are seventeen of Fry's works on commerce in art. Although he had no formal training in economics, Fry addressed the art market as a modern economist might do. It is therefore fitting that his writings receive here an original interpretation from the perspective of a modern economist, Craufurd D. Goodwin. Goodwin explores why Fry's work is both a landmark in the history of cross-disciplinary thought and a source of fresh insights into a wide range of current policy questions. The new writings included contain Fry's most important contributions to theory, history, and debates over policy as he explored the determinants of the supply of art, the demand for art, and the art market institutions that facilitate exchange. His ideas and speculations are as stimulating and provocative today as when they were written. "A fascinating selection of essays by one of the twentieth century's most thoughtful and stimulating critics. Goodwin's introduction sets the stage beautifully, providing useful links to Veblen and Keynes." --D. E. Moggridge, University of Toronto "Art and the Market uncovers new connections between aesthetics and art in the Bloomsbury Group. . . . Goodwin adds significantly to the understanding of cultural economics in the work of Fry himself as well as J. M. Keynes and even Leonard and Virginia Woolf." --S. P. Rosenbaum, University of Toronto "All those interested in the arts and economics, and their connections, will be delighted by this collection, as will be students of Bloomsbury." --Peter Stansky, Stanford University Craufurd D. Goodwin is James B. Duke Professor of Economics, Duke University.

Art and the Religious Image in El Greco's Italy Cover

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Art and the Religious Image in El Greco's Italy

By Andrew R. Casper

Art and the Religious Image in El Greco’s Italy is the first book-length examination of the early career of one of the early modern period’s most notoriously misunderstood figures. Born around 1541, Domenikos Theotokopoulos began his career as an icon painter on the island of Crete. He is best known, under the name “El Greco,” for the works he created while in Spain, paintings that have provoked both rapt admiration and scornful disapproval since his death in 1614. But the nearly ten years he spent in Venice and Rome, from 1567 to 1576, have remained underexplored until now. Andrew Casper’s examination of this period allows us to gain a proper understanding of El Greco’s entire career and reveals much about the tumultuous environment for religious painting after the Council of Trent. Casper’s analysis portrays El Greco as an active participant in some of the most formative artistic discussions of his time. It shows how the paintings of his early career explore the form, function, and conception of the religious image in the second half of the sixteenth century, and how he cultivated artistic fame by incorporating aspects of the styles of Michelangelo, Titian, and other contemporary masters. Beyond this, El Greco’s paintings bear the marks of an artist attentive to theoretical speculation on the artistic process, the current understandings of the science of optics and perspective, and the role of Roman antiquity for Christian ideology. All of these characteristics demonstrate El Greco’s unique understanding of the merger of artistic craft with devotional intent through what Casper terms the “artful icon.”

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