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Architecture and Modern Literature explores the representation and interpretation of architectural space in modern literature from the early nineteenth century to the present, with the aim of showing how literary production and architectural construction are related as cultural forms in the historical context of modernity. In addressing this subject, it also examines the larger questions of the relation between literature and architecture and the extent to which these two arts define one another in the social and philosophical contexts of modernity. Architecture and Modern Literature will serve as a foundational introduction to the emerging interdisciplinary study of architecture and literature. David Spurr addresses a broad range of material, including literary, critical, and philosophical works in English, French, and German, and proposes a new historical and theoretical overview of this area, in which modern forms of "meaning" in architecture and literature are related to the discourses of being, dwelling, and homelessness.
Episodes in the History of Modern Mexico
The period following the Mexican Revolution was characterized by unprecedented artistic experimentation. Seeking to express the revolution's heterogeneous social and political aims, which were in a continuous state of redefinition, architects, artists, writers, and intellectuals created distinctive, sometimes idiosyncratic theories and works. Luis E. Carranza examines the interdependence of modern architecture in Mexico and the pressing sociopolitical and ideological issues of this period, as well as the interchanges between post-revolutionary architects and the literary, philosophical, and artistic avant-gardes. Organizing his book around chronological case studies that show how architectural theory and production reflected various understandings of the revolution's significance, Carranza focuses on architecture and its relationship to the philosophical and pedagogic requirements of the muralist movement, the development of the avant-garde in Mexico and its notions of the Mexican city, the use of pre-Hispanic architectural forms to address indigenous peoples, the development of a socially oriented architectural functionalism, and the monumentalization of the revolution itself. In addition, the book also covers important architects and artists who have been marginally discussed within architectural and art historiography. Richly illustrated, Architecture as Revolution is one of the first books in English to present a social and cultural history of early twentieth-century Mexican architecture.
A mode of mobility
Journeying across the globe – from a skyscraper in Vancouver, B.C., to a department store in Los Angeles, and from super-cinemas in Bombay (Mumbai) to radio cabinets in Canadian living rooms – this richly illustrated book examines the reach of Art Deco as it affected public cultures.
Historic Cemeteries of Grand Rapids, Michigan
In the late nineteenth century and early twentieth century, the look and feel of cemeteries in the United States changed dramatically, from utilitarian burial grounds to the serene park-like spaces that we know today. The so-called park cemetery was innovative not only for its distinctive landscape architecture but also because, for the first time, its staff took on the tasks of designing, running, and maintaining the cemetery itself, leading to a very consistent appearance. By the mid-1800s, the influence of park cemeteries began to spread from big cities on the east coast to the Midwest—eventually producing fifteen transitional examples in Grand Rapids, Michigan. In The Art of Memory: Historic Cemeteries of Grand Rapids, Michigan Thomas R. Dilley details the history of Grand Rapids’ park cemeteries, finding that their development mimicked national trends and changing cultural beliefs about honoring the dead. Dilley begins by outlining the history and evolution of cemetery design from its earliest days to present, including information about key design elements and descriptions of important designers. He continues by introducing readers to the fifteen historic cemeteries located in the city of Grand Rapids, detailing their histories, formats, and developmental changes along with more than two hundred photos. The cemeteries are divided between public and private properties, and are discussed chronologically, according to the dates of their founding. Dilley also considers the artistic and architectural forms that appear in the Grand Rapids cemeteries, including a thorough discussion of the religious and decorative symbols used on markers, the use of sometimes florid epitaphs, and variations in the form, structure, and materials of cemetery markers of the time. A brief section on the future of the cemetery and an extensive list of bibliographic sources and suggestions for further reading round out this informative volume. Readers with roots in Grand Rapids as well as those interested in social and cultural history will enjoy The Art of Memory.
The Galveston We Remember
In sixty-seven exquisite watercolors and drawings, nationally famous architect Eugene Aubry captures on paper the sensibilities, the memories, and the grace that evokes Galveston, especially for those who are BOI (“born on the island”). Commissioned by the Galveston Historical Foundation, these works of art are intended to enhance the visual record of the buildings and the unique local architectural style that so many have appreciated over the years.? In the aftermath of Hurricane Ike, Galvestonians became more aware than ever of the treasure of the island’s historical architecture and the vulnerability of this heritage to forces beyond human control. Aubry’s art captures the almost palpable sense of past glories these buildings bring to mind. Aubry—himself BOI—has fashioned these pieces in a way that resonates with those who love the island’s ethos. ?With a fine eye to the artist’s intent and a mastery of detail, architectural historian Stephen Fox expertly and eloquently introduces the work as a whole and, in discursive captions that accompany each image, informs the reader’s appreciation of Aubry’s art.? So much more than a tribute, Born on the Island: The Galveston We Remember stands as a loving homage to Galveston—one that will call its readers home to the island, even if they have never ventured there before.
Memorial Architecture, National Identity, and the Egyptian Revival
Far more than a study of Egyptian revivalism, this book examines the Egyptian style of commemoration from the rural cemetery to national obelisks to the Sphinx at Mount Auburn Cemetery. Giguere argues that Americans adopted Egyptian forms of commemoration as readily as other neoclassical styles such as Greek revivalism, noting that the American landscape is littered with monuments that define the Egyptian style’s importance to American national identity. Of particular interest is perhaps America’s greatest commemorative obelisk: the Washington Monument. Standing at 555 feet high and constructed entirely of stone—making it the tallest obelisk in the world—the Washington Monument represents the pinnacle of Egyptian architecture’s influence on America’s desire to memorialize its national heroes by employing monumental forms associated with solidity and timelessness. Construction on the monument began in 1848, but controversy over its design, which at one point included a Greek colonnade surrounding the obelisk, and the American Civil War halted construction until 1877. Interestingly, Americans saw the completion of the Washington Monument after the Civil War as a mending of the nation itself, melding Egyptian commemoration with the reconstruction of America. As the twentieth century saw the rise of additional commemorative obelisks, the Egyptian Revival became ensconced in American national identity. Egyptian-style architecture has been used as a form of commemoration in memorials for World War I and II, the civil rights movement, and even as recently as the 9/11 remembrances. Giguere places the Egyptian style in a historical context that demonstrates how Americans actively sought to forge a national identity reminiscent of Egyptian culture that has endured to the present day.
For more than a century, Chicago's skyline has included some of the world's most distinctive and inspiring buildings. This history of the Windy City's skyscrapers begins in the key period of reconstruction after the Great Fire of 1871 and concludes in 1934 with the onset of the Great Depression, which brought architectural progress to a standstill. During this time, such iconic landmarks as the Chicago Tribune Tower, the Wrigley Building, the Marshall Field and Company Building, the Chicago Stock Exchange, the Palmolive Building, and many others rose to impressive new heights, thanks to innovations in building methods and materials. Solid, earthbound edifices of iron, brick, and stone made way for towers of steel and plate glass, imparting a striking new look to Chicago's growing urban landscape. Thomas Leslie reveals the daily struggles, technical breakthroughs, and negotiations that produced these magnificent buildings. The book includes detailed analyses of how foundation materials, framing structures, and electric lighting developed throughout the years, showing how the skeletal frames of the Rookery, Ludington, and Leiter Buildings led to the braced frames of the Masonic Temple and Schiller Building and eventually to the concealed frames of the City Opera, Merchandise Mart, and other Chicago landmarks. Leslie also considers how the city's infamous political climate contributed to its architecture, as building and zoning codes were often disputed by shifting networks of rivals, labor unions, professional organizations, and municipal bodies. Featuring more than a hundred photographs and illustrations of the city's physically impressive and beautifully diverse architecture, Chicago Skyscrapers, 1871 - 1934 shows how during these decades, Chicago's architects, engineers, and builders learned from one another's successes and failures to create an exceptionally dynamic, energetic period of architectural progress.
Homespun and Modern India
In Clothing Gandhi's Nation, Lisa Trivedi explores the making of one of modern India's most enduring political symbols, khadi: a homespun, home-woven cloth. The image of Mohandas K. Gandhi clothed simply in a loincloth and plying a spinning wheel is familiar around the world, as is the sight of Gandhi, Jawaharlal Nehru, and other political leaders dressed in "Gandhi caps" and khadi shirts. Less widely understood is how these images associate the wearers with the swadeshi movement -- which advocated the exclusive consumption of indigenous goods to establish India's autonomy from Great Britain -- or how khadi was used to create a visual expression of national identity after Independence. Trivedi brings together social history and the study of visual culture to account for khadi as both symbol and commodity. Written in a clear narrative style, the book provides a cultural history of important and distinctive aspects of modern Indian history.
In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression—the art collection, the anthology, and the archive—and their importance in the development of institutional and artistic culture in the United States. Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting. Collecting as Modernist Practice demonstrates that modernism's cultural identity was secured not so much through the selection of a canon of significant works as by the development of new practices that shaped the social meaning of art. Braddock has us revisit the contested terrain of modernist culture prior to the dominance of institutions such as the Museum of Modern Art and the university curriculum so that we might consider modernisms that could have been. Offering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of The New Negro anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States.
Chinese Subjects and American Visual Culture, 1830-1900
Combining aesthetic and political history, explores the influence of Chinese people and objects on American visual culture. In Collecting Objects / Excluding People, Lenore Metrick-Chen demonstrations an unknown impact of Chinese immigration upon nineteenth-century American art and visual culture. The American ideas of “Chineseness” ranged from a negative portrayal to an admiring one and these varied images had an effect on museum art collections and advertising images. They brought new ideas into American art theory, anticipating twentieth-century Modernism. Metrick-Chen demonstrates that efforts to construct a cultural democracy led to the creation of unforeseen new categories for visual objects and unanticipated social changes. Collecting Objects / Excluding People reveals the power of images upon culture, the influence of media representation upon the lives of Chinese immigrants, and the impact of political ideology upon the definition of art itself.