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Art and Architecture
A Twenty-One-Year-Old in Mississippi in 1964
In June 1964, college student Joel Katz boarded a Greyhound bus in Hartford, Connecticut, for Jackson, Mississippi. He carried few possessions—a small bag of clothes, a written invitation to call on Frank Barber, who was special assistant to Governor Paul Johnson, and a Honeywell Pentax H1-A camera with three lenses.
A few days after his arrival in Jackson, the city’s Daily News ran on its front page an FBI alert seeking Andrew Goodman, James Chaney, and Michael Schwerner, three field workers from the Congress of Racial Equality (CORE) who’d gone missing while investigating a church burning in Neshoba County.
In the uneasy silence of their disappearance, Katz began a seven-week journey across the state. Along the way, he met the people of Mississippi, black and white, of all ages and classes, from the humble to the grand. These Mississippians encouraged or obstructed change in their traditional culture or simply observed the edifice of that culture tremble and fall.
During 1964’s Freedom Summer, Katz met ministers making history and journalists writing it. He photographed Martin Luther King Jr. and James Abernathy, taught at a freedom school, interviewed a leader of the White Citizens Councils, was harassed by Jackson police, and escaped death in Vicksburg. Six weeks after Katz arrived in Mississippi, the FBI found the bodies of Goodman, Chaney, and Schwerner in an earthen dam.
Inspired by the social documentary photographs of Walker Evans and Robert Frank, Katz snapped hauntingly quotidian photos on his Pentax camera. Amid acts of brutal savagery and transcendent courage that transfixed the nation, Katz discovered resilient individuals living quiet lives worthy of witness. And I Said No Lord is a moving and luminous record of Americans in evolution.
Franchising Toys and Characters in Japan
In Anime’s Media Mix, Marc Steinberg convincingly shows that anime is far more than a style of Japanese animation. Beyond its immediate form of cartooning, anime is also a unique mode of cultural production and consumption that led to the phenomenon that is today called “media mix” in Japan and “convergence” in the West.
According to Steinberg, both anime and the media mix were ignited on January 1, 1963, when Astro Boy hit Japanese TV screens for the first time. Sponsored by a chocolate manufacturer with savvy marketing skills, Astro Boy quickly became a cultural icon in Japan. He was the poster boy (or, in his case, “sticker boy”) both for Meiji Seika’s chocolates and for what could happen when a goggle-eyed cartoon child fell into the eager clutches of creative marketers. It was only a short step, Steinberg makes clear, from Astro Boy to Pokémon and beyond.
Steinberg traces the cultural genealogy that spawned Astro Boy to the transformations of Japanese media culture that followed—and forward to the even more profound developments in global capitalism supported by the circulation of characters like Doraemon, Hello Kitty, and Suzumiya Haruhi. He details how convergence was sparked by anime, with its astoundingly broad merchandising of images and its franchising across media and commodities. He also explains, for the first time, how the rise of anime cannot be understood properly—historically, economically, and culturally—without grasping the integral role that the media mix played from the start. Engaging with film, animation, and media studies, as well as analyses of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day.
The Development of Residential Architecture in Fayette County, Kentucky
The ante bellum homes of Lexington and Fayette County, Kentucky, are both more numerous and more distinctive in design than those of many communities of similar age. Founded in 1775, Lexington by the turn of the century had become the chief cultural center north of New Orleans and west of the Alleghenies. During the eight decades between the Revolution and the Civil War, Fayette County was the focus of converging streams of immigration, and a phenomenal amount of building activity took place in Lexington and the surrounding area. Although local builders followed the trends of national architecture, they were not primarily concerned with "correctness," and developed a provincial style which was distinguished by originality and a high level of craftsmanship.
In Ante Bellum Houses of the Bluegrass, Clay Lancaster seeks to define the indigenous character of Fayette County building, which he concludes is of unusually distinguished quality. A second aim is the presentation of authentic data as a guide for intelligent restoration of existing old buildings, many of which have been defaced by unnecessary changes and inappropriate additions. He traces the development of house building in this restricted area from the first crude log cabins, through frame, stone, and early brick residences, to the substantial homes built by wealthy landowners and merchants in the mid-nineteenth century.
The text is supplemented by 200 line drawings which present the essential features of each building free from the later alterations and decay which would be recorded by the camera. These illustrations have been compiled on the basis of intensive research, from old photographs, maps, drawings, and other records. An album of halftone illustrations, many of which are reproductions of old photographs of buildings which have been altered or demolished, supplements these illustrations.
During the eight decades preceding the Civil War, Kentucky was the scene of tremendous building activity. Located in the western section of the original English colonies, midway between North and South, Kentucky saw the rise of an architecture that combined the traditions of nationally known designers, eager to achieve the refinements of their English mother culture, alongside the innovativeness and bold originality proper to the frontier. Tradition thus provided a tangible link with world architectural development, while innovation offered refreshing variations. The result was a distinctive regional architecture.
In his newest look at Kentucky architecture, Clay Lancaster broadens his scope to include analyses of significant structures from throughout the commonwealth, illustrating the entire range of stylistic development. Like his acclaimed earlier book Antebellum Houses of the Bluegrass, the current volume provides historical background as well as drawings, photographs, and floor plans, showing both general features and details.
Among the many Kentucky buildings discussed are examples by such well-known early American architects as Benjamin Henry Latrobe, Thomas Jefferson, James Dakin, Isaiah Rogers, Alexander J. Davis, and Francis Costigan, as well as the work of local master builders such as Matthew Kennedy, Micajah Burnett, Gideon Shryock, Thomas Lewinski, and John McMurtry. Also included are Kentucky buildings designed from nationally distributed architectural books and builders' guides.
Lancaster gives special attention to the Geometric Style, which evolved further and produced more noteworthy monuments in Kentucky than anywhere else in America. Such buildings, in turn, bestowed a simplicity and straightforwardness on structures in later styles.
As Lancaster shows, the architecture that resulted from Kentucky's fertile eclecticism constitutes a rich and rewarding architectural heritage. All lovers of fine architecture will treasure this handsome and informative book.
From Futurist Cooking to Eat Art
Discussing an aspect of the European avant-garde that has often been neglected-its relationship to the embodied experience of food, its sensation, and its consumption-Cecilia Novero exposes the surprisingly key roles that food plays in the theoretical foundations and material aesthetics of a broad stratum of works ranging from the Italian Futurist Cookbook to the magazine Dada, Walter Benjamin's writings on eating and cooking, Daniel Spoerri's Eat Art, and the French New Realists.
Starting from the premise that avant-garde art involves the questioning of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible art. Through the rhetoric of incorporation and consumption and the use of material ingredients in their work, she shows, avant-garde artists active in the 1920s and 1930s as well as the neo-avant-garde movements engaged critically with consumer culture, memory, and history.
Attention to food in avant-garde aesthetics, Novero asserts, reveals how these works are rooted in a complex temporality that associates memory and consumption with dynamics of change.
The Art Markets in Italy, 1400-1700
The chapters of this book revolve around the notion of the other in Jacques Derrida's work. How does Derrida write of and on the other? Arguing that Derrida offers the most attentive and responsible thinking about the undeniable experience of the alterity of the other,Apparitions--of Derrida's Other examines exemplary instances of the relation to the other--the relation of Moses to God, Derrida's friendship with Jean-Luc Nancy, Derrida's relation to a recently departed actress caught on video, among others--to demonstrate how Derrida forces us to reconceive who or what the other may be. For Derrida, the singularity of the other, always written in the lower case, includes not only the formal or logical sense of alterity, the otherness of the human other, but also the otherness of the nonliving, the no longer living, or the not yet alive. The book explores welcoming and hospitality, salutation and greeting, approaching,and mourning as constitutive facets of the relation to these others. Addressing Derrida's readings of Husserl, Levinas, Barthes, Blanchot, and Nancy, among other thinkers, and ranging across a number of disciplines, including art, literature, philosophy, and religion, this book explores the apparitions of the other by attending to the mode of appearing or coming on the scene, the phenomenality and visibility of the other. Analyzing some of Derrida's essays on the visual arts, the book also demonstrates that video and photography display an intimate relation to spectrality,as well as a structural relation to the absolute singularity of the other.
De West-Vlaamse provinciaal architecten en de 19e-eeuwse architectuurpraktijk
Het ambt van provinciaal architect in de 19e-eeuwse Belgische architectuur. De provinciaal architecten wisten met hun ontwerpen voor plattelandskerken, pastorieën, lagere scholen en andere openbare gebouwen sterk hun stempel op de 19e-eeuwse Belgische architectuur te drukken. Dat zij tezelfdertijd ambtenaar en architect waren, had een belangrijke invloed op hun ontwerpen en sociale positie. Aan de hand van een ‘biografie’ van het ambt in de provincie West-Vlaanderen legt de auteur vakkundig de relaties bloot tussen overheid, administratie en architectuur. Daarbij krijgt de lezer inzicht in de administratieve context waarbinnen de provinciaal architecten actief waren, en ook een levendig beeld van hun dagelijkse ontwerppraktijk en verankering in het bredere maatschappelijke veld. Dankzij deze veelzijdige benadering van het ambt van provinciaal architect biedt Architect en ambtenaar een tegengewicht voor meer traditionele overzichten van de architectuurgeschiedenis die sterk uitgaan van een stilistische ontwikkeling en uitzonderlijke ‘kunstenaar-architecten’.
Socially Disengaged Buddhism in Asia’s Museums, Monuments, and Amusement Parks
Buddhism, often described as an austere religion that condemns desire, promotes denial, and idealizes the contemplative life, actually has a thriving leisure culture in Asia. Creative religious improvisations designed by Buddhists have been produced both within and outside of monasteries across the region—in Nepal, Japan, Korea, Macau, Hong Kong, Singapore, Laos, Thailand, and Vietnam. Justin McDaniel looks at the growth of Asia’s culture of Buddhist leisure—what he calls “socially disengaged Buddhism”—through a study of architects responsible for monuments, museums, amusement parks, and other sites. In conversation with noted theorists of material and visual culture and anthropologists of art, McDaniel argues that such sites highlight the importance of public, leisure, and spectacle culture from a Buddhist perspective and illustrate how “secular” and “religious,” “public” and “private,” are in many ways false binaries. Moreover, places like Lek Wiriyaphan’s Sanctuary of Truth in Thailand, Suối Tiên Amusement Park in Saigon, and Shi Fa Zhao’s multilevel museum/ritual space/tea house in Singapore reflect a growing Buddhist ecumenism built through repetitive affective encounters instead of didactic sermons and sectarian developments. They present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise: Together they form a gathering, not a movement.
Despite the ingenuity of lay and ordained visionaries like Wiriyaphan and Zhao and their colleagues Kenzo Tange, Chan-soo Park, Tadao Ando, and others discussed in this book, creators of Buddhist leisure sites often face problems along the way. Parks and museums are complex adaptive systems that are changed and influenced by budgets, available materials, local and global economic conditions, and visitors. Architects must often compromise and settle at local optima, and no matter what they intend, their buildings will develop lives of their own. Provocative and theoretically innovative, Architects of Buddhist Leisure asks readers to question the very category of “religious” architecture. It challenges current methodological approaches in religious studies and speaks to a broad audience interested in modern art, architecture, religion, anthropology, and material culture.